A common complaint among vintage collectors who run across newer issues is that we miss the good old days when baseball cards had borders. Looking at cards like these 2017 Astros leaves us feeling (ahem!)…cheated.
The borders we overlooked as kids have come to symbolize all that was right about baseball cards. Joni Mitchell had us pegged. You really DON’T know what you’ve got till it’s gone. No, we’d never pave Paradise to put up a parking lot, but we sure wouldn’t mind a thin cement edge around it.
The borders on our cards have taken on almost a spiritual significance with “meaning of life” level implications. We ponder koans such as, “Is a card without a border even a card?”
The sages teach us that without nothing there could be no something. Cardboardismically speaking, the border is the yin to the image’s yang. Form needs outline.
The vintage collector therefore must find “border in the chaos,” else risk serenity and sanity alike. Should he even consider collecting cards post-2015, his best, nay ONLY, option is Heritage!
Whatever you hear on TV, friends, THIS is the real border crisis, but fear not…
Tengo un plan para eso…and it won’t even raise your taxes! (Checks new eBay policy. “Okay, so maybe a little.”)
Add just THREE CARDS to your collection and you’re gonna win on borders so much you’ll be tired of winning on borders.
1960 Fleer ted williams
Let’s start with Ted Williams. Compare his 1960 Fleer card with that of Hack Wilson or any other player in the set. That’s some serious border! Where some perfectly centered cards are said to have 50-50 centering, Teddy Ballgame comes in at 150-150!
Back in the day you might have found this card an eyesore, but that was then. Now you probably look at the card and wish the borders were even bigger!
1936-37 World wide gum Lou Gehrig
The second must-have for the border hoarder is the 1936-37 World Wide Gum card of Lou Gehrig. (Note that this issue is catalogued as 1936, but Matthew Glidden makes a compelling case that 1936-37 is more correct.)
At first you may shrug away Larrupin’ Lou’s border as nothing special, no different than that of teammate Dickey. Look closer though and you’ll see that Gehrig’s image comes to a refreshing end more than a quarter inch from the card edge. After unremarkable offerings in 1933 and 1934, World Wide Gum definitely put the Border in “North of the Border!”
1934 Butterfinger Paul Waner
Finally we come to the 1934 Butterfinger card of Paul Waner, the card that I believe sets the standard when it comes to border-to-image ratio.
While the Dizzy Dean image from the same issue flirts tantalizingly close to the card edge, the Waner card has more margin than Gould selling hammers to the Pentagon. If the card had any more border we might forget it was a baseball card altogether and assume it was a Home Depot paint sample for Gotham Gray. If Big Poison were any smaller on the card he would have been Little Poison.
Teddy Ballgame, the Iron Horse, and Big Poison. Three players who made the Hall of Fame by a wide margin, but even more importantly, three cards who made the wide margin Hall of Fame. Border crisis averted, at least for now.
As a kid I used to dream about finding my way into some ancient attic and unearthing boxes and boxes full of old baseball cards. For whatever reason, I imagined I’d need to be on the East Coast somewhere, which made the fantasy all the less attainable coming from my West Coast mind, but it was still fun to picture thumbing through these old stacks of cards and finding Ted Williams, Stan Musial, and Joe DiMaggio if not Babe Ruth, Ty Cobb, and Honus Wagner.
While this dream of mine never did come true, I did have the pleasure of meeting a fellow collector this year whose real life experience came awfully close.
David grew up in the Kansas City area but lives in Phoenix these days. Like me, he fell for card collecting hook, line, and sinker from the moment he was introduced to his first baseball cards, despite the fact he barely knew a thing about baseball or any of the players. While my love affair with cards and baseball began with 1978 Topps, David got going five years earlier and still remembers the thrill of pulling a 1973 Topps Hank Aaron card.
David was mainly a Hank Aaron and Kansas City Royals collector early on and started a paper route to feed his fix for packs. Once Hank Aaron retired, David branched out into the older stuff, mainly pursuing pre-1973 Hank Aaron cards and other stars he’d heard about from his dad. David was even lucky enough to have a teacher at school who would trade old 1950s cards for contemporary stars. While these swaps usually worked in David’s favor, he harbors at least some regret over a 1975 Gary Carter RC for 1955 Topps Tom Hurd swap.
Fast forward a bit and David eventually headed off to college. Like so many other collectors he left his cards at home–Hank Aaron, George Brett, Tom Hurd, and all. With David away at school his parents downsized and moved most of his stuff into storage. After his father passed away, David’s mother forgot about the storage unit, whose contents were ultimately sold off to the highest bidder.
The end. Right?
Not quite. I’ll let David’s twitter bio take over from here.
“Recently found my entire card collection I thought was long lost. Sharing my find w/twitter…”
While I grew up dreaming of finding boxes and boxes full of incredible cards, David actually did it. The twist, of course, is that the boxes he found were his own!
Evidently, David’s dad didn’t want to put the cards in storage and had a friend of his hang onto them instead. David remained in contact with this family friend, who one day, decades later, remembered he had a bunch of boxes somewhere with David’s name on them.
David’s first few twitter posts as “Cigarbox Cards” definitely got my attention!
The first card David posted was a well loved 1956 Topps card of Mr. Cub. The next day David posted a video of himself rifling through stacks of cards including early Topps issues of Gary Carter (but not the 1975!) and Dennis Eckersley while a 1949 Leaf Ted Williams sat untouched in the distance.
An autographed Yaz rookie was next, followed by a Red Man Willie Mays. In the days that followed David posted a Brett RC mini, a 1954 Bowman Mickey Mantle, and a 1974 Topps Tom Seaver. I always enjoyed the way David juxtaposed his featured finds with background elements that enhanced their presentation. This is a theme we’ll come back to shortly when I show you what David’s up to now.
Most of the online replies consisted of emojis like 😱 and 🔥 🔥 🔥 but I suspect certain collectors were wondering if David’s cigar box finds included any really good cards.
Then David dropped the Hammer.
And even more Hammer! (Click blue arrow twice to activate.)
Though the cards are not mine, I still feel a thrill each time David posts an amazing card from his original collection. To think how close these cards came to being lost forever and then to see them pop up in my twitter feed is downright magical. It’s like flipping through my own personal attic find, even if the cards aren’t mine to keep–just like the dreams I had as a kid right down to waking up in the morning with the same collection I had before!
Beyond showing off some great cards David introduced some fun interactive features to his posts, among them his “Out or Hit” series…
Of course it was only a matter of time before this happened.
The cards kept coming and coming, almost obscenely so, but what really caught the eye of many collectors was the creative ways David was finding to display his cards, something many of us spend undue time considering.
Here’s another one that really caught my eye with bonus points for the bunting!
And if you’re wondering what the most creative use for a yellow drinking straw in a baseball card collection is…
Or for the Yankee fans…
I could go on and on, but you’d probably have more fun scrolling through all David’s posts yourself. Other than of course SABR Baseball Cards 🤣, it’s hard to think of another baseball card account as consistently awesome as his.
As I consider his collecting story I come back once again to my own and that of so many other collectors. How many of us dreamed of that elusive find, those boxes and boxes of cards filled with stars of yesteryear? If you’re like me, not only did that imagined cardboard haul never arrive but even the cards you did have were nowhere to be found by the time you realized you missed them.
What I didn’t know when I shuffled through my 1978-80 Topps cards as a kid was that the boxes right in front of me would someday be more valuable than any cards I might find elsewhere. Even today the memories of those cards mean more to me than the actual cards I’ve purchased since.
This post (below, right) from David makes the point well and was ultimately the catalyst for my writing this article.
Let’s face it. You can dream all you want about things you don’t have, but few fantasies or realities will ever come close to that of your first love, whether lost, lasting, or in David’s case both.
Author’s note: For another SABR Baseball Cards article inspired by collectors’ online posts, see “Fathers and Sons.”
Show these two cards to most collectors, and they’ll identify them without hesitation.
1933 Goudey Rabbit Maranville and 1934 Goudey Lou Gehrig, right? In fact, both cards come from a single Canadian release known variously by the names V354, 1934 World Wide Gum, and 1934 Canadian Goudey.
“Aha, so Goudey just released their same cards in Canada, eh?”
Sort of, but it’s a bit more complicated than that. For a two-year stretch, Goudey did release their cards in Canada, but it was only some of their cards and not necessarily the ones you might have expected. This article seeks to explain the what, when, and why (or at least how) of two years of Canadian baseball cards that aren’t nearly as confusing or strange as they first appear.
1933 world wide gum
We’ll start with the first of the Canadian Goudey releases, the 1933 World Wide Gum set, designated as V353 by Jefferson Burdick in his American Card Catalog. As the two Babe Ruth cards below show, the World Wide Gum fronts (left) are indistinguishable from their U.S. Goudey (right) counterparts.
However, differences on the card backs are evident. On this particular card, the most prominent differences are the card number (80 in this set vs 144 in the U.S. set) and the footer, which shows World Wide Gum of Montreal as the distributor and Canada as where the printing took place. Additionally, each of the World Wide Gum card backs has two language variations: English only and French-English.
In addition to minor layout differences and a more crammed look, the French-English cards commonly omitted the final paragraph of the player bio as a space saving measure.
Side note: I have three possible theories for the language variations.
French-English was “Plan A” but necessarily took longer than English-only. As such, early runs of English-only were produced to avoid delay.
English was “Plan A” but poorly received by the market, leading to a second release in French-English.
French-English was produced for areas with large francophone populations (Quebec, New Brunswick) while English was produced for predominantly anglophone areas.
If you know the answer (or have a different theory) let me know in the Comments. While I can’t produce any viable alternative theories, I can also offer reasons why I think each is incorrect! (I’ll avoid going down that rabbit hole here, but I’ll offer more info in the Comments section on request.)
Another major difference between the two sets is their size. The U.S. set included 239-240 cards, depending how you count the Lajoie card. Meanwhile the Canadian set was much smaller, including only 94 cards. On the off chance you’re wondering which 94, you came to the right place.
Cards 1-52 and 58-67 on the Canadian checklist align perfectly with the U.S. release, including numbering. For example, card #1 in both sets is Benny Bengough.
The other 32 cards, at least at first glance, appear to be more or less random, though we will later see they are not.
The chart below shows the correspondence between the Canadian and U.S. checklists.
A final mini-mystery, particularly if you know that Goudey cards of the era were printed on sheets of 24 cards each, is the unusual size of the Canadian set: 94 cards.
As it turns out, the size of the Canadian set and the apparent randomness to the second half of the checklist are both explained by various quirks of the U.S. set.
meanwhile back in the states…
As mentioned, Goudey printed its 1933 set on sheets of 24 cards each. However, the cards on the sheets were not numbered sequentially, instead jumping around and leaving gaps. A 2015 article written for PSA by Kevin Glew provides this summary of card numbers by sheet.
For example, here are Sheets 1, 2, 3, and 6 from the U.S. Goudey set…
…or if you prefer, a complete set of 1933 Canadian Goudey! Yes, all the “randomness” of the Canadian checklist is simply a reflection of the oddball numbering scheme used in the States. World Wide Gum simply took four of the first six U.S. sheets and renumbered the cards sequentially from 1 to 94.
For those of you who’ve already done the math, you’re a step ahead of me. Correct…there are 96 cards here, not 94. However, we can also look at the number of different cards. While there were no duplicates on the set’s first three sheets, the sixth sheet introduced extra cards for three different players: Babe Ruth, Jimmie Foxx, and Lou Gehrig.
Babe Ruth’s two “full action” cards, double-printed as 144 in the U.S. set were both numbered as 80 in the Canadian set.
Jimmy Foxx was the star of the first U.S. series (sheet) as card 29, a number that was retained in the Canadian set as well. The Beast’s second card, identical to his first save numbering, was assigned 154 in the U.S. set and 85 in the Canadian set.
Lou Gehrig was the top player on the third U.S. sheet as card 92. His Sheet 6 duplicate is card 160 in the U.S. set. In the Canadian set both cards are given a single number, 55.
In summary then, the 94-card Canadian checklist is perfectly explained by its four source sheets from the U.S. set, the retention of Ruth DP, and the creation of a Gehrig DP. Armed with this information, we are ready for the 1934 edition, a set I believe is the strangest of the entire decade.
1934 World wide gum
As shown at he beginning of the article, this 96-card set colors very much outside the lines by merging cards from both the 1933 and 1934 U.S. sets.
The first 48 cards follow the 1933 U.S. design, and the final 48 cards follow the 1934 U.S. design, so we’ll look at each of these groupings separately.
the lower 48
Cards 1-48 on the 1934 Canadian Goudey checklist match up with the following 48 card numbers from the 1933 U.S. set: 53-57, 68-74, 80-91, 100-105, 115-120, and 130-141. While this grouping of numbers appears odd on the surface, you are now zero shocked to see a perfect match to U.S. Goudey sheets 4 and 5.
For those of you keeping score at home, that means Canadian gum chewers pocketing both the 1933 and 1934 World Wide Gum sets now had Canadian counterparts of every card from the first six sheets of the 1933 U.S. issue.
While the card fronts were a perfect match with the U.S. series, a number of expected differences could be found on the backs of the cards: reduced bios to make room for French translation, new card numbers, WWG/Montreal vs Goudey/Boston, etc., i.e., the same things we’d already seen the year before. Another key change, one that’s particularly helpful to collectors sorting their cards, is the “1934 Series” header.
My favorite changes, however, are not evident from the Frankhouse card, and show that the World Wide Gum set was not simply a lazy retread of its neighbor to the south. (This just in: Readers from Windsor, ONT, would like to remind you that their city is actually south of Boston!)
The very first card in the 1934 World Wide Gum set provides one of many team changes.
And lest you imagine such changes are few and far between, here is card #2. As the card front suggests, Morgan was with Cleveland in the 1933 set but the back of his 1934 Canadian card reflects his move to Boston, a transaction that occurred in October 1933.
Not owning this half-set nor even finding a complete run of 1-48 online, I am not able to provide a full catalog of team changes. (Other sources such as Trading Card Database are not yet reliable for this set.) As such, I will simply share two more examples to convey the idea that someone in Montreal (or Boston) was willing to go the extra kilometer (or mile) to keep things au courant (or current).
I particularly like this next example in that it involves two teams many collectors were not even aware had 1933/34 Goudey cards, the Milwaukee Brewers and Montreal Royals.
And my all-time favorite is this one. First, here is the 1933 Goudey version…nothing too unusual.
But what’s this? When I first saw it, I thought mission must have had an alternate meaning in French or that Friberg might have been Mormon and taking a break from baseball. It’s also hard not to think of the Blues Brothers movie: Friberg’s on a mission, a mission from Goudey!
As it turns out the answer is more Reds than Blues. Friberg had simply headed west to San Francisco to play for the Mission Reds of the Pacific Coast League. The story goes that one time Bernie was left out of the Mission lineup and a lone fan in the San Francisco crowd immediately began chanting “FREEEEEEEE-berg, play FREEE-berg, man!”
The upper 48
No decoder ring is needed to understand cards 49-96 in the Canadian set. They correspond exactly the first 48 cards in the 1934 U.S. set, just in a totally different order easy enough to confuse for random.
Look a little more closely and you’ll find in fact the first 24 Canadian cards are a shuffled version of U.S. cards 1-24 and the final 24 Canadian cards are a shuffled version of U.S. cards 25-48.
The sequencing looks even less random when you look at a 1934 Goudey uncut sheet or two. Here is how the first two sheets, 1-24 and 25-48, of the U.S. issue were numbered. I am happy to award a prize package to anyone who can find the pattern!
And here is how World Wide Gum numbered the same 48 cards. (No prize this time if you spot the pattern!)
And here you were thinking the Canadian set was the random one!
Side note: Cards 1-48 in the Canadian set (i.e., the “lower 48” profiled earlier) worked in exactly the same way. While numbering on sheets 4 and 5 from the 1933 U.S. set was in no particular order, World Wide Gum re-numbered the cards on each sheet sequentially from left to right and top to bottom. For example, while these same cards were numbered 119, 116, 118, 117, 136, 132, etc., in the 1933 set, here is their numbering in 1934 World Wide Gum.
By now you’re a pro at anticipating what differences the Canadian card backs will show versus their U.S. counterparts. You can check off your guesses against Heinie’s (ahem) backsides.
However, the 1934 U.S. series actually features two other styles of card backs.
Cards 1-24 match the Manush card already shown.
Cards 25-79 and 92-96, the remaining “Lou Gehrig says…” cards in the set, feature the first card back shown above.
Cards 80-91, the “Chuck Klein says…” cards, feature the second card back shown above.
Because the Canadian set doesn’t include U.S. cards 80-91 it’s not a surprise at all that no Canadian cards have the Klein back. Given the space saving measures already seen on the Canadian cards, the absence of the Gehrig signature might not surprise you either.
Nonetheless I do attach significance to another missing element: the line on U.S. cards 25-96 that reads “By arrangement with Christy Walsh.”
Christy Walsh was of course the super-agent of many of era’s biggest stars, among them Babe Ruth and Lou Gehrig. Walsh’s “arrangement” with Goudey is often cited as the main reason there are no Babe Ruth cards in the 1934 U.S. set.
Certainly it is possible that the Walsh tagline was omitted in Canada only to conserve space. On the other hand, legalese is often the last to go. My own hunch is that the Goudey/Walsh arrangement extended only to the United States and did not extend north of the border. In particular, I connect the absence of the Walsh tag line with the set’s checklist boasting this heavy hitter.
There he is, Babe Ruth, on a 1934 (and sort of) Goudey card! Meanwhile American collectors could only dream of such a card in their wildest mastication fantasies!
Odds and ends
For all the ink I’ve spent explaining the construction of the two Canadian Goudey sets, one question I’ve left alone is the why. Here are my best guesses to a few questions that remain outstanding.
Why did the 1933 set draw from Sheets 1, 2, 3, and 6 of the U.S. set vs some other set of sheets (e.g., 1-4)? In order to have a product on shelves in any timely manner, using low-numbered U.S. sheets was a necessity. In my own research I’ve come to believe that Sheets 1-3 and 5 were all ready to go even before the start of the 1933 season whereas the other six sheets were prepared in a series of later efforts. As such, the use of Sheets 1-3 is probably no surprise: they were available quickly. As for why the set then skipped to Sheet 6, I suspect it was for the star power. Boasting a Foxx, Gehrig, and three Ruth cards, this was the one to put out there if the clock was ticking and you wanted the most buck for your bang.
Why did the 1934 set use any 1933 cards at all? Again I’m going to go with time-to-market. Waiting on true 1934 Goudey cards and adding time for translation meant it would be a while before cards could hit shelves. Meanwhile here was a ready made supply of cards that needed only translation and (in some cases) team updates.
Why did the 1934 set switch in the middle to the 1934 Goudey cards? An auction house listing I read suggested the change was in response to criticism that the set was “behind the times.” I doubt this for two reasons. First, unless kids were in frequent correspondence with their American cousins, I’m not sure they would have noticed or complained much. Second, provided the 1934 U.S. cards were ready for us, why wouldn’t WWG want to use them? While modern collectors might frown at WWG putting out a set using two different card designs, bear in mind that Goudey (U.S.) did the exact same thing in 1933.
Matthew Glidden has a terrific write-up of World Wide Gum cards, going well beyond the 1933 and 1934 baseball sets. Among the highlights is his rock solid case that the 1936 issue (as catalogued) was in fact a 1936-37 issue.
Some very clean front/back scans of the 1934 World Wide Gum cards are here. The collector is pretty far from a complete set, but his images are among the better ones online.
My own gum-in-cheek article on the history of the Goudey Gum Company is here. Most Goudey company biographers skip the poisoning scandals. Not me.
Author’s note: My goal here isn’t to list EVERY set with Traded cards. In many cases, the set I highlight will stand in for similar issues across a number of years, before and after.
1981 Topps Traded
The first Traded set I became aware of as a young collector was in 1981. At the time the main excitement for me was that Fernando Valenzuela finally got an entire Topps card to himself. Of course, as the name suggested, it was also a chance to see players depicted on their new teams, such as this Dave Winfield card portraying him in a Yankees uniform.
Dozens of similar Traded or Update sets followed in the coming years, leaning considerably on the 1981 Topps Traded set as a model. However, 1981 was definitely not the beginning of the Traded card era.
1979 O-Pee-Chee/Burger King
My first encounter with O-Pee-Chee cards was in 1979. While most of the cards in the 1979 O-Pee-Chee set had fronts that–logo aside–looked exactly like their U.S. counterparts, every now and then an O-Pee-Chee required a double-take. Back here in the US, I was not yet familiar with the 1979 Topps Burger King issue, but they took things even a step further.
1979 Topps Bump Wills
Not really a traded card, but here is one that at least might have looked like one to collectors in 1979. Having been a young collector myself that year, I can definitely say Bump and hometown hero Steve Garvey were THE hot cards my friends and I wanted that year.
The most fun Trades cards are ones where the player gets a genuinely new picture in his new uniform like the 1981 Topps Traded Dave Winfield. Next in line behind those are the ones where the team name on the card front changes, such as with the 1979 O-Pee-Chee Pete Rose. Distinctly less exciting but still intriguing are cards were a “Traded line” is added. We will see some sets where such a line makes the front of the card, but much more often we’ll see it as part of the small print on the back.
Here is Buddy Bell’s card from the 1979 set.
And here is Ken Reitz from the 1977 set.
In case it’s a tough read for your eyes, the second version of the Reitz back, at the very end of the bio, reads, “St. Louis brought Ken back in a trade.” The Bell card has a similar statement. Admittedly these cards are a bit bizarre in that the card backs already have the players on their new teams, even in the initial release. Because of that, one could make an argument that the second versions are less Traded cards than “updated bio” cards, but let’s not split hairs. However, you slice it two Reitz don’t make a wrong!
Similar cards can be found in the 1974, 1975, and 1976 Kellogg’s sets as well.
Not really a Traded card but a great opportunity to feature a rare 1977 proof card of Reggie Jackson as an Oriole, alongside his Topps and Burger King cards of the same year.
1976 Topps Traded
This set features my favorite design ever in terms of highlighting the change of teams. Unlike the 1981 Topps Traded set, these cards were available in packs and are considered no more scarce than the standard cards from the 1976 Topps set. While the traded cards feature only a single Hall of Famer, this subset did give us one of the classic baseball cards of all time.
Side note: Along with Ernie Banks, Billy Williams, Lou Brock, Lee Smith, and Joe Carter, Oscar Gamble was “discovered” by the great John Jordan “Buck” O’Neil. Well done, Buck!
1975 Topps Hank Aaron
Collectors in 1975 were rewarded with two cards of the Home Run King, bookending the classic set as cards #1 and #660. Aaron’s base card depicts the Hammer as a Brewer, the team he would spend his 1975 and 1976 seasons with. Meanwhile, his ’74 Highlights (and NL All-Star) card thankfully portrays Aaron as a Brave.
1974 Topps – Washington, National League
The National League’s newest team, the San Diego Padres, wasn’t exactly making bank for ownership in San Diego, and it looked like practically a done deal that they would be moving to D.C. for the 1974 season. As the cardboard of record at the time, Topps was all over the expected move and made sure to reflect it on their initial printings of the 1974 set. Because there was no team name yet for the D.C. franchise-to-be, Topps simply went with “Nat’l Lea.” (Click here for a recent SABR Baseball Cards article on the subject.)
Of course these San Diego/Washington cards aren’t true Traded cards, but that’s not to say there weren’t any in the 1974 Topps set.
1974 Topps Traded
This subset may have been the most direct precursor of the 1981 Topps Traded set. While cards from later printings were randomly inserted in packs, the subset could be purchased in full, assuming you threw down your $6 or so for the ENTIRE 1974 Topps factory set, traded cards included, available exclusively through J.C. Penney.
The Traded design is a bit of an eyesore, and the subset includes only two Hall of Famers, Marichal and Santo. For a bit more star power, we only need to look two years earlier.
1972 Topps Traded
As part of the high number series in 1972, Topps included seven cards to capture what the card backs described as “Baseball’s Biggest Trades.”
The star power is immense, though some collectors see this subset more as a case of what might have been. One of the seven trades featured was Nolan Ryan-for-Jim Fregosi. However, as the bigger name at the time, Topps put Fregosi rather than Ryan on the card.
Net54 member JollyElm also reminded me about another big miss from Topps here. Yes, of course I’m talking about the Charlie Williams trade that had the San Francisco Giants already making big plans for October. “Charlie who?” you ask. Fair enough. Perhaps you’re more familiar with the player the Giants gave up for Williams.
This next example is not a Traded card, but it is one of the most unique Update cards in hobby history. RIP to the Quiet Man, the Miracle Worker…the legendary Gil Hodges.
You might wonder if OPC gave its 1973 Clemente card a similar treatment. Nope. And if you’re wondering what other cards noted their subject’s recent demise, there’s a SABR blog post for that!
Though the first Topps/O-Pee-Chee baseball card partnership came in 1965, the 1971 O-Pee-Chee set was the first to feature Traded cards. (The 1971 set also includes two different Rusty Staub cards, which was something I just learned in my research for this article.) My article on the Black Aces is where I first stumbled across this 1971 Al Downing card.
Where the 1972 OPC Hodges and 1979 OPC Rose cards were precise about dates, this one just goes with “Recently…” Of course this was not just any trade. Three years later, still with the Dodgers, Downing would find himself participating in one of the greatest moments in baseball history.
At first glance, these two cards appear to be a case of the Bump Wills error, only a decade earlier. After all, Donn Clendenon never played a single game with the Houston Astros, so why would he have a card with them? However, this is no Bump Wills error. There is in fact a remarkable story here, echoing a mix of Jackie Robinson and Curt Flood. I’ll offer a short version of it below the cards.
Donn Clendenon played out the 1968 season with the Pittsburgh Pirates, which explains his uniform (sans airbrush) in the photos. However, at season’s end he was selected by the Expos in baseball’s expansion draft. Still, that was a good six months before these cards hit the shelves so there was time for a plot twist.
Three months after becoming an Expo, Montreal traded Clendenon, along with Jesus Alou, to the Astros for Rusty Staub. Based on the trade, Topps skipped Montreal altogether and led off their 1969 offering with Clendenon as an Astro. But alas, Clendenon refused to report to Houston, where several black players had experienced racism on the part of the team’s manager, instead threatening to retire and take a job with pen manufacturer Scripto. Ultimately the trade was reworked, Clendenon was able to remain an Expo, and he even got a raise and a new Topps card for his trouble.
Thanks to Net54 member JollyElm for providing information on this set and providing the occasion to feature Bob Uecker to boot. While the card fronts in these years gave no hints of being traded cards the backs indicated team changes in later printings. Here is an example from each year. In 1966, the only change is an added line at the end of the bio whereas 1967 has not only the added bio line but also update the team name just under the player name area.
Note that the corresponding OPC card backs follow the later (traded) versions of the Topps cards.
Topps League Leaders – 1960s and beyond
In August 2018 Net54 member Gr8Beldini posted a particularly devious trivia question. The subject was players whose Topps League Leaders cards depicted them on different teams than their base cards in the same set.
These 1966 Frank Robinson cards are among 11 instances where this occurred in the 1960s and 70s. If you can name the other 10, all I can say is you REALLY know your baseball cards!
1961-1963 Post Cereal
We’ll start with the 1962 and 1963 issues, which feature the now familiar Traded lines. Note however that there were no prior versions of these same cards minus the Traded line. Roberts is from the 1962 set, and McDaniel is from the 1963 set.
Post mixes it up a bit more in 1961 in that there were numerous variations between cereal box versions of the cards and mail-in order versions. The Billy Martin cereal box version (left) lacks a Traded line, but the mail-in version (right) indicates Martin was sold to Milwaukee in 1960.
BTW, thank you to Net54 member Skil55voy for pointing me to the Post Cereal variations.
Thanks to Net54 member RobDerhak for this example, which follows (really, precedes) the examples from 1966-67 Topps. Note the last line of the bio on the second card back: “Traded to Washington in March 1959.” (You might also enjoy an unrelated UER on both backs. See if you can find it!)
1956 Big League Star Statues
A tip of the hat to Net54 member JLange who took us off the cardboard and into the a fantastic set of early statues, possible inspirations for the Hartland figures that would soon follow and an early ancestor of Starting Lineup. Doby’s original packaging puts him with his 1955 club (CLE), but later packaging shows his 1956 club (CHW).
You know those Traded lines that O-Pee-Chee seemed to invent in the 1970s, at least until we saw them from Topps on the card backs of their 1967, 1966, and 1959 sets? Well, guess who the real inventor was?
Bowman’s Traded line didn’t make its debut in the 1955 set, however. Here is the same thing happening with their 1954 issue.
Is this the first set to add a “traded line” to the front or back of a card? As it turns out, no. But before showing you the answer, we’ll take a quick detour to another early 1950s issue that included team variants.
1954 Red Man
George Kell began the 1954 season with the Red Sox but moved to the White Sox early in the season. As a result, Kell has two different cards in the 1954 Red Man set. There is no “traded line,” but the Red Man artists did a reasonably nice job updating Kell’s uniform, and the team name is also updated in the card’s header information.
Red Man followed the same approach in moving outfielder Sam Mele from the Orioles to the White Sox. Meanwhile, Dave Philley, who changed teams prior to the start of the season, enjoyed those same updates and a traded line.
1951 Topps Red Backs
Notice anything different about these two Gus Zernial cards?
Yep, not only does the Chicago “C” disappear off his cap, but the bio on the second card begins, “Traded to the Philadelphia A’s this year.” So there you have it. At least as far as Topps vs. Bowman goes, Topps was the first to bring us the Traded line. And unlike so many of the examples we’ve seen from 1954-1967, it’s even on the front of the card!
1947-1966 Exhibit Supply Company
If there’s anything certain about issuing a set over 20 years is that some players are going to change teams. As such, many of these players have cards showing them playing for than one team (or in the case of Brooklyn/L.A. Dodgers more than one city.) Take the case of Harvey Kuenn, who played with the Tigers from 1952-1959, spent 1960 in Cleveland, and then headed west to San Francisco in 1961.
The plain-capping approach used in the middle card might lead you to believe that the Exhibits card staff lacked the airbrushing technology made famous by Topps or the artistic wizardry you’ll soon see with the 1933 Eclipse Import set. However, their treatment of Alvin Dark’s journey from the Boston Braves (1946-1949) to the New York Giants (1950-1956) actually reveals some serious talent. (See how many differences you can spot; I get five.) I almost wish they just went with it for his Cubs (1958-1959) card instead of using a brand new shot, which somehow looks more fake to me than his Giants card.
1948 Blue Tint
In researching my Jackie Robinson post, I came across this set of cards from 1948. Among the variations in the set are the two cards of Leo the Lip, who began the year piloting the Dodgers but finished the year with their National League rivals. No need to take another picture, Leo, we’ll just black out the hat!
And if you’re wondering how many other players/managers appeared as Dodgers and Giants in the same set, we’ve got you covered!
1934-36 Diamond Stars
We’re going way back in time now to capture a Traded card sufficiently under the radar that even Trading Card Database doesn’t yet list it. (UPDATE: It does now, but PSA does not!) Its relative obscurity might lead you to believe it’s a common player, but in fact it’s Hall of Famer Al Simmons.
After three years with the Chicago White Sox, Bucketfoot Al joined the Detroit Tigers for the 1936 season. As a set that spanned three years, Diamond Stars was able to update its Simmons card to reflect the change. The cards appear similar if not identical at first glance. However, the Tigers card omits the Sox logo on Al’s jersey, and the card reverse updates Al’s team as well.
Another Hall of Famer with a similar treatment in the set is Heinie Manush. Some collectors are familiar with his “W on sleeve” and “no W on sleeve” variations. These in fact reflect his move from the Senators to the Red Sox. This set has so many team variations, most of which are beneath the radar of most collectors, that I wrote a whole article on the subject for my personal blog.
The 1933 Goudey set included some late-season releases, including a tenth series of 24 cards that included key players from the 1933 World Series. Even the most casual collectors know the Goudey set included more than one card of certain players–most notably four of the Bambino. What not all collectors realize is that the set includes a Traded card.
Hitting great Lefty O’Doul was originally depicted as a Brooklyn Dodger, the team he played with until mid-June of the 1933 season. However, when the final release of trading cards came out, Lefty had a new card with the World Champion New York Giants.
Of course, if Lefty’s .349 lifetime average isn’t high enough for you, there is an even better hitter with a traded card in the set. His move from the Cards to the Browns on July 26 prompted a brand new card highlighting not only his new team but his new “position” as well.
1933 Eclipse Import
Another hat tip to Net54 member JLange who offered up a set not even listed yet in the Trading Card Database. Also known as R337, this 24-card set may be where you’ll find one of the most unusual Babe Ruth cards as well as this priceless update. Not technically a Traded card since the player is with Cleveland on both cards (and was with the Tribe continuously from 1923 until midway through the 1935 season), but…well, first take a look for yourself, and then meet me on the other side!
Yes, that is the Philly mascot on Myatt’s uniform. After all, he played for Connie Mack’s squad back in…wait for it…1921! But no problem. Let’s just find someone with pretty neat handwriting to scribble Cleveland across the uni on our next go-round. Problem solved!
My thanks to Net54 member Peter_Spaeth (whose worst card is 100x better than my best card!) for tipping me off to this set and allowing me to use his card of Old Pete. In a move that perhaps inspired future O-Pee-Chee sets, here is Grover Alexander, Cubs uniform and all, on the St. Louis Cardinals.
Other HOFers with mismatched teams and uniforms are Ty Cobb, Rogers Hornsby, and Tris Speaker. In case you haven’t guessed it already, if you want to see a ton of star power on a single checklist, you owe it to yourself to take a look at the HOFers in this set.
1914-1915 Cracker Jack
If you view the 1914 and 1915 Cracker Jack sets as two different sets (that happen to have a gigantic number of nearly identical cards), then there are no Traded cards. However, if you view the two releases as a single set, then there are numerous Traded cards. Among the players to appear on two different teams, the biggest star is unquestionably Nap Lajoie. who appears in 1914 with his namesake Cleveland Naps and in 1915 with the Philadelphia Athletics. In addition to the change in the team name at the bottom of the card, you can also see that “Cleveland” has been erased from his jersey.
Another notable jumper in this set is HOF pitcher Eddie Plank who has his 1914 card with the Philadelphia Athletics and his 1915 card with the St. Louis Terriers of the Federal League.
I will take any excuse to include cards from this set in a post, so I was thrilled when Net54 member Gonzo alerted me to the team variations in this set. Here are two players who were traded from the Boston Rustlers (who?) to the Chicago Cubs. David Shean went packing on February 25, 1911, and George “Peaches” Graham made his move a few months later on June 10.
Gonzo also notes that many of the images from the 1911 T205 set were reused, uniforms and all, for the 1914 T330-2 Piedmont Art Stamps set. (I will freely admit to never having heard of this issue.) One HOF jumper is double-play man Johnny Evers, whose picture has him on the Cubs but card has him on the Braves. There are also several players attached to Federal League teams though their images still show their NL/AL uniforms.
1911 S74 Silks
It was once again Net54 member Gonzo for the win with this great find! On the other end of the aforementioned “Peaches” Graham trade was Johnny Kling, depicted here in his Cubs uniform while his card sports the Boston Rustlers name and insignia.
Another multi-year set, the Monster includes a handful of team change variations. The Bill Dahlen card on the left shows Dahlen with his 1909 team, the Boston Braves. Though he would only play four games total over his final two seasons in 1910 and 1911, the cardmakers at the American Tobacco Company saw fit to update his card to show his new team, the Brooklyn Dodgers.
1887-90 Old Judge
If T206 isn’t old enough for you, then let’s go even farther back to the juggernaut of 19th century baseball card sets, N172, more commonly known as Old Judge. According to Trading Card Database, Hall of Fame pitcher Amos Rusie has cards with both the Indianapolis Hoosiers (1887) and the New York Giants (1889-90). I was unable to find what felt like a real NYG card of Rusie, but I did find one where a strip of paper reading “New York” had been glued over the area of the card that had previously said “Indianapolis.” My immediate thought was that a collector was the culprit behind this cut-and-paste job. But how funny would it be if this is how the Old Judge cardmakers did updates back then!
When I first stumbled across Traded cards, it was love at first sight. What a thrill to end up with two cards of a top star, and what better way to turn a common player into a conversation starter. To the extent baseball cards tell a story and document the game’s history, Traded cards hold a special role. Unfortunately, these cards have a dark side as well. At least in 1983 they did. If you ever doubted that 8 3/4 square inches of cardboard could rip a kid’s heart out, stomp it to bits, and then spit all over it, well…here you go.
I’m not shy about proclaiming National Chicle’s 1934-36 Diamond Stars as one of my favorite sets ever. The set’s bright colors and period backgrounds seem to hint at the Golden Age of comics just on the horizon (1938-1956), and the set is loaded with action in contrast to the more austere (mostly) portrait-centered design of its 1934 Goudey competition.
Much of the action was posed and, stylistic backgrounds aside, would fit right in with the Topps sets of 1957, 1967, or even 1977: baseball players pretending to do baseball things on baseball fields.
Other cards, however, took the action a step further and put the players right into the game.
Other cards fell short of in-game action but still managed to have interesting things going on in the background. (Click here for a fun Twitter thread on the Medwick card in particular.)
And who says there’s no Lou Gehrig in the Diamond Stars set? Who’s that handsome fellow holding a bat behind the Crow?
And come to think of it, even the guy in the dugout looks familiar!😊
Unfortunately, a funny thing happens when you submit the Diamond Star cameos to a full background check. You come up empty!
Some readers may remember an earlier post that matched the 1933-34 Goudey cards with Charles Conlon source images. Such a massive undertaking was too ambitious for the couple hours I had today, but I did manage to compare 1934-36 Diamond Stars against the 65 premiums that make up the 1934 Butterfinger (R310) set.
I chose the Butterfinger set for three reasons:
The premiums used photographs, including authentic backgrounds.
The set was contemporary with Diamond Stars, hence included many of the same players.
The Butterfinger photos had known overlap with other card sets of the era. Here are other uses of the Dizzy Dean photo, for example.
Overall, the 108-card Diamond Stars set (of 96 different players) had 31 players in common with 1934 Butterfinger. Of these 31, there were 9 positive image matches and one other I’ll put in the “maybe but probably not” category.
The Diamond Stars Blondy Ryan features what I imagine to be a hustling outfielder, charging in to back up the play. However, “imagine” is the key word here because really there’s noboby there!
Next up is Gus Suhr, who makes the grab at first base several steps ahead of the…wait a minute…I swear there was a runner there!
Next up is Jim Bottomley, throwing a ball around while imaginary teammates check out the bat selection.
The good news on this one is that Joe Vosmik didn’t really take such a half-hearted hack at a real pitch. He’s just smiling (okay, maybe not) for the camera.
Our next batter is Master Melvin, whose Diamond Stars card is actually quite faithful to the photo. (The same Ott image makes an appearance 0n one of his two 1933 Goudey cards as well.)
Ditto for Oscar Melillo, whose card transforms rather drab stadium scene into a vibrant cityscape but otherwise introduces no false action.
While many collectors prefer the purity of black and white photography over bright cartoons, the Butterfinger card of Paul Waner may pose a challenge to their orthodoxy. I can almost picture the scene on the field: “Hurry, take his picture before the elevator doors close!”
It’s fair to say Diamond Stars really made the most of what they had to work with here. (I’m not suggesting Diamond Stars used the Butterfingers as their source, but I am assuming the source photo for Waner is the tightly cropped image we see in the Butterfinger.) As a side note, I believe Waner’s is the only Diamond Stars card to show a uniform number for a cameo player, offering us the rare chance to see who it is! Let’s see, let’s see…#28 on the Pirates in the early 1930s was…nobody!
One of the more exciting matches in the sets is Yankees ace, Red Ruffing, who appears to be joined by Hall of Fame second baseman Tony Lazzeri. As you might have guessed though, it’s nobody at all.
At first glance you may wonder why I am calling this one a match. In truth, I almost missed it myself.
But take a look. All I did was adjust the size–not even any rotation required.
CLOSE BUT NO CIGAR…
The images of General Crowder from Diamond Stars and Butterfinger bear a strong resemblance, but there are hints that the Diamond Stars comes from a different photo. I’ll leave the clues for you to find unless anyone asks me in the Comments.
Upon review it is evident that the Diamond Stars artists simply improvised backgrounds, either to make cards more interesting or to give the illusion of game action. That said, this gimmick was hardly invented at National Chicle, as demonstrated by this 1933 Goudey card of Jimmy Dykes where the action is magically transported from outside the dugout to the batter’s box.
So no, Diamond Stars hardly invented the illusion of game action. However, seeing as the Goudey image has neither catcher nor umpire, I do think Diamond Stars improved considerably on the work of their main competitor, if not perfected the mirage. (Just don’t ask yourself how Lopez had time to toss his mask off in the tenth of a second it took the ball to spring off the bat.)
And besides, who hasn’t failed the occasional background check? It’s not like our national security is at stake here. Or is it? 😉
Author’s note: I originally planned this article in two parts, the first of which was published earlier in the week. I’ve since decided it works better combined into a single article, so here it is all in once place. – J.A.S.
In the nearly 120 years of the great Dodger-Giant rivalry, more than 200 players have suited up for both sides, either as a player or manager, including 22 Hall of Famers. For most of these men it is an easy undertaking to find cards of them as Dodgers and as Giants.
Most often their Dodger and Giant cards come from different years or different sets, as in the case of the two Frank Robinson cards pictured, eleven years apart. However, it is sometimes possible to find these Dodger-Giant pairings within a single set.
When this happens, the player (or manager) achieves true “double agent” status, turns from hero to villain (or vice versa) among the team faithful, earns the double-takes of many a collector, and most importantly attains immortality with a spot in this article.
In the sections that follow, I will present a chronological list of the nearly two dozen Dodger-Giant double agents I could track down in my research. Please let me know in the comments if I missed anyone.
On December 12, 1903, the Brooklyn Superbas sent Bill Dahlen to New York for Charlie Babb and Jack Cronin. As a result, Dahlen can be found with both squads in the 1903-04 Breisch-Williams (E107) set and has the honor of being the first ever Dodger-Giant double agent.
Here is one that really doesn’t count but is interesting enough to include nonetheless. On August 31, 1915, the Brooklyn Robins claimed Hall of Fame hurler Rube Marquard off waivers following his release by the Giants. Look close, however, and you’ll see Marquard’s 1915 card puts him with the other Brooklyn team, the Tip Tops of the Federal League!
I originally thought the fine folks at Cracker Jack had simply erred until Ralph Carhart helped explain things.
As Ralph noted, Rube’s “Tip Top flip flop” may offer us a clue to the Cracker Jack production calendar. I’ll further offer that the NYG still on Marquard’s uniform could signal that “the drama was playing out” after it was too late to change art but not too late to change type.
On June 16, 1933, the Giants traded Sam Leslie to the Dodgers for Watty Clark and Lefty O’Doul. Clark had only a single 1933 Goudey card, which depicted him as a Dodger, while Leslie had no 1933 cards at all. O’Doul, on the other hand, had two cards in the Goudey set: one as a Dodger and one as a Giant.
The first card came early in the year as part of the set’s third sheet while his second card, along with those of numerous other Giants and Senators, was something of a bonus card as part of the set’s World Series (sheet 10) release.
In July 1948 Brooklyn general manager Branch Rickey and New York owner Horace Stoneham came to an agreement that allowed Brooklyn manager Leo Durocher to take over the Giants. The 1948 R346 “Blue Tint” set noted the update and may well have inspired future Topps airbrushers with its treatment of Durocher’s cap.
A part of my childhood was destroyed when Reggie Smith left the Dodgers and signed as a free agent with San Francisco on February 27, 1982. A giant (okay, pun intended) setback in my grieving process came when Topps pushed out its Traded set for the year and documented the move in cardboard. But alas, at least we still had Dusty!
As a side note, the Traded card presents an interesting blend of numbers for the man who formerly wore #8 with the Dodgers and would wear #14 with the Giants. His jersey shows him as #60 while his bat has a 30 on it, which I take to mean it belonged to teammate Chili Davis.
No-o-o-o-o-o-o-o! They got Dusty too?! Sadly it was no April Fools joke when the Giants signed fan favorite Dusty Baker as a free agent on April 1, 1984, and this two Traded/Update sets were there to ratify the trauma.
A rare trade between the Dodgers and Giants on December 11, 1985 produced two more double agents. The first was fan favorite Candy Maldonado, who like Baker before him made both the Topps and Fleer sets.
And on the back end of that same trade…
Oddly, neither Trevino nor Maldonado cracked the 660-card 1986 Donruss checklist despite the set including 21 different Giants and 24 different Dodgers. In Trevino’s case, he was San Francisco’s primary back-up catcher behind Bob Brenley played in 57 games. As for Maldonado, he played in 123 games, leading all reserve players and ranking eighth overall on the team.
Fast forward to 1991 and the number of baseball card sets had reached absurd levels. Therefore, it should be no surprise that when free agent superstar Gary Carter signed with the Dodgers on March 26, 1991, he would set new records for cardboard double agency.
First here’s Topps.
Next up are the Kid’s two Fleer cards. Warning: Sunglasses may be required.
Upper Deck was of course also in the act by now.
And finally, Score put out two Carter cards as well, ridiculously similar to each other to the point of almost seeming impossible.
A similar octet of cards belonged to Brett Butler this same year, with Bugsy landing in Los Angeles via free agency on December 14, 1990.
Dave Anderson signed with the Dodgers as a free agent on January 28, 1992, but this time only one company, Score, seemed to take notice.
It was Fleer and only Fleer on the job when Todd Benzinger headed north to San Francisco as a free agent on January 13, 1993.
Meanwhile, Cory Snyder got three times the cardboard love when he took his talents to L.A. on December 5, 1992. Score Select was particularly ambitious, dropping Snyder out of an airplane for their photo shoot.
On June 19, 1994, following his release from the Dodgers, the Giants signed Darryl Strawberry to a cup of coffee. Little used by both teams in 1994, Darryl hit double agent status with only a single cardmaker, Fleer.
On December 8, 1997, infielder Jose Vizcaino signed with the Dodgers as a free agent after playing the regular season with the Giants. However, the baseball card production process was by this time so fast that nearly all of Vizcaino’s base cards already had him as a Dodger. As a result, his double agency was limited to the 1998 Fleer Tradition set only.
On January 11, 2000, F.P. Santangelo signed with the Dodgers as a free agent. While very few companies even had a single card of the oft abbreviated Frank-Paul, Upper Deck came through with cards on both sides of the cardboard rivalry.
The Giants signed Gold Glove centerfielder Marquis Grissom as a free agency on December 7, 2002, leading to a pair of Fleer Tradition cards based on Fleer’s sharp 1963 design.
Curiously, the Fleer Tradition Update cards (not just Grissom’s) omitted the city from team names. If there’s any story to it, let me know in the comments.
On January 3, 2006, pitcher Brett Tomko signed a free agent deal with the Dodgers. If nothing else, the move gave Topps a chance to show off how far they’d come since their drunken airbrush days. Scary good if you ask me.
Tomko’s Dodger card above came from a Dodger-specific team set, but he also earned a card in the Topps Updates and Highlights set for good measure.
When the Dodgers signed all-star right-hander Jason Schmidt on December 6, 2006, no two companies went the same route. First up, Fleer simply turned back the clock to the days of 1981 Donruss.
Meanwhile Topps ventured back to 1983 and the Fleer Joel Youngblood card or Eddie Murphy movie with this special insert…
…while also going full Tomko across their Pepsi and Opening Day releases.
Upper Deck came through with a nice pair of landscape Schmidt cards, though neither is a true Giants card since both go with Dodgers in the header.
Would I be remiss if I didn’t report that the first of the two Schmidt cards is also available in Gold, Predictor Green, and First Edition? Take your pick I guess!
Brad Penny signed as a free agent with the Giants on August 31, 2009, following half a season with the Red Sox and a longer stint before that with L.A. This landed Penny cards on three teams in 2009, including double agent status with Topps Heritage.
The final player (as of 2019) with a Dodger and Giant card from the same set is Brian Wilson, who signed as a free agent with the Dodgers mid-season on July 30, 2013. Lucky for you, Topps was there to document the before and after in pretty much every possible color!
On one hand, Dodger-Giant double agents reflect an oddball phenomenon of at best passing interest to fans of either of the two teams. However, their distinctly non-random occurrences over the years also point to important changes in the game and the hobby.
Just looking at the graph, it is possible to see all of the following:
Prevalence of multi-year issues in the early days of the hobby
Increased player movement with the advent of free agency
Introduction of Traded/Update sets
Increase in the number of companies issuing sets (1981-2008)
Reduction in the number of companies issuing sets (2009-present)
I will leave it to others to identify the cardboard double-agents of baseball’s other great rivalries (e.g., Yankees-Red Sox), but I’ll hazard a guess already that a graph of the data would look very much like mine.
The 1934-36 Diamond Stars set from National Chicle is a personal favorite thanks to its bright colors, its creative backgrounds, and the overall personality of its artwork. It’s also a set that makes for interesting study due to a variety of quirks and even a possible mystery.
10. NO Ruth or Gehrig
Though the Diamond Stars checklist is stacked with Hall of Fame talent, the set does not include the era’s two biggest stars, Babe Ruth and Lou Gehrig. Other notable absences include Dizzy Dean and Chuck Klein. While the omissions detract from the set in the eyes of many collectors, they may prove a blessing in disguise to set collectors on more modest budgets.
The back of each Diamond Stars card features a novel biographical format that doubles as a baseball instruction manual and scouting report tailored to the featured player. The byline on this content is Austen Lake of the Boston American.
Lake himself has an interesting bio, having at one time tried out as a catcher with the Yankees, played football professionally, and rose to prominence as a war correspondent during World War II. Of course, some vintage collectors might know the name (and even most of the bio!) from another set of 1930s trading cards.
8. what year are the cards?
As the name suggests, the 1934-36 Diamond Stars were indeed released over a three year period. However, that is not to say that each of the cards was available all three years. More detail is provided in an excellent article Kevin Glew wrote for PSA, but a basic summary of the 108-card release is as follows.
For example, this Luke Appling card (#95) would have only been available to collectors in 1936 whereas the Lefty Grove card (#1) shown earlier would have been available in 1934 or 1935. (As you’ll see in the next section, this isn’t 100% true, but we’ll call it “true for now.”)
7. what year are the cards…really?
For cards spanning more than one year, such as the Lefty Grove, a different version of the card was issued each year. The most telltale feature for distinguishing the variations is the line of stats at the bottom of each card back. If you scroll up a bit, you’ll see the Grove card that led off this article featured stats for 1933, hence was part of the 1934 series, whereas this Grove card features stats for 1934, hence was part of the 1935 series.
6. color change
Card backs featured green ink in 1934, blue ink in 1936, and a mix of the tw0—at least for cards 73-86—in 1935. As such, a set collector hoping to collect all possible variations would need three of each card from 73-86: a green 1935, a blue 1935, and a blue 1936.
5. other variations
Two well front variations in the set are the Hank Greenberg and Ernie Lombardi cards, originally misspelled as Hank Greenburg and Earnie Lombardi. Less known are five cards in the set where the player uniform changes due to a transaction between one series and another. I have a more comprehensive article on this subject here, but here are images of the five.
In other cases, such as with Johnny Vergez, card fronts stay the same but card backs note team changes.
4. more ambitious set planned?
Similar to the 1933 Goudey set, the bottom of each card back advertised a set of “240 major league players.” Despite that, the set included only 108 cards and only 96 different players.
One explanation for the smaller set is that player contracts with Goudey greatly reduced the number of players available. Another explanation is the 1937 bankruptcy of National Chicle. That said, at the established pace of only 32 new players (or 36 new cards) per year, it would have taken a good 7+ years to make it to 240.
3. DOUBLED dozen
While the first 96 cards in the checklist represent 96 distinct players, the final 12 cards in the set are all repeats. For example, Bill Dickey has card 11 (1934, 1935) and card 103 (1936) in the set. A possible explanation for the repeated twelve cards will come at the end of this article.
2. mystery uncut sheet
An uncut sheet of Diamond Stars was discovered in the 1980s by the family member of a former National Chicle printer. While other uncut Diamond Stars sheets are known to exist, what made this one particularly unique was that none of its 12 cards appear anywhere on the Diamond Stars checklist! (See Ryan Cracknell article for more info.)
In addition to blank-backed cards of Hall of Famers Goose Goslin and Lefty Gomez, the sheet also includes a particularly noteworthy card pairing Browns teammates Jim Bottomley and Rogers Hornsby.
Original artwork for the Bottomley/Hornsby card sold at auction in 2012, and good news…the owner is evidently actively entertaining offers!
In addition, the press photo, taken at 1936 Spring Training, that the artwork and card were based on has also made the rounds.
1. connection between uncut sheet and doubled dozen?
I have seen some speculation that the twelve repeated cards (97-108) on the Diamond Stars checklist might have taken the place of the twelve cards on this uncut and unreleased sheet. I have also seen the Bottomley/Hornsby card at its neighbors proposed as part of an unrealized 1937 extension to the original set.
As with most 80+ year old mysteries, any definitive answer is likely lost to history. At least some clues that suggest the sheet was produced along with the rest of the 1936 series are the cards for Jim Bottomley, Roger Cramer, and Gene Moore, all of which show teams they joined in early 1936, and Benny Frey, Rip Collins, Linus Frey, and Lon Warneke, still shown on teams they were no longer with in 1937.
When I first saw this unreleased sheet, what jumped out at me were the zanier more geometric backgrounds versus the more traditional (but still colorful) stadium and cityscape backgrounds of the original 108 cards. Perhaps this mismatch prompted a National Chicle exec to kill the sheet and a panicking product manager to replace it with the fastest thing he could throw together: repeats of earlier cards.
BONUS KAWhi leonard tie-in
As Kawhi Leonard contemplates whether to remain in Toronto or join forces with LeBron and A.D. to form the greatest Big Three in NBA history, I thought I’d call out my favorite Cardboard Big Three ever. I defy you to top it, even if I spot you a Ruth and a Gehrig!
I know the historians among you are already protesting. “But the Bambino was never traded!” Details, details. You’re thinking of the real world, but I’m talking about the cardboard world.
The year was 1933, and a fourteen-year-old chewing gum company, having tucked its poisoning scandals safely in the past, was making its first foray into the baseball card world. The effort would be an ambitious one, promising young chewers a 240-card series of baseball stars.
This set, known as R319 or 1933 Goudey, was destined to become one of the most popular and iconic trading card sets of all time, to this day sharing headroom with 1909-11 T206, 1952 Topps, and (depending on your age) 1989 Upper Deck on our hobby’s Mt Rushmore of classic baseball card sets.
Before we can get to the Babe Ruth trade, it’s necessary to understand that the Goudey set was produced as ten sheets of 24 cards each. An uncut example of the fifth sheet is shown below. It includes card 53, the first of four Babe Ruth cards that would appear in the set.
Probably not, but perhaps you’ve just done the math and wondered how card 53 would have ended up on the fifth sheet, which ostensibly should have featured cards 97-120. In fact, the Goudey set used extensive skip numbering, instead filling the fifth sheet with card numbers 53-57, 68-74, and 80-91. (I also believe a second factor was at play and that this particular sheet was originally designed as the fourth sheet.)
Here is the state of the Goudey checklist following the release of the fifth sheet. Note the gaps from 97-99, 106-114, 121-129, and perhaps 142-144.
But now let’s talk about that sixth sheet in greater depth. In particular, we’ll focus on fivecards from it for which early proof versions exist.
When you think of card 106 in the 1933 Goudey set, you most likely think of the famous Napoleon Lajoie card. What you may not know is that an early proof card of Leo Durocher first bore this card number before ultimately receiving card 147 in the set.
Likewise, four other cards from the sixth sheet have proof cards that are “misnumbered.”
Returning to the set’s checklist, the proof (incorrect) numbers of each are shown in pink and the final (correct) numbers of each are shown in blue.
In all five cases, the numbers of the proof cards land within the checklist’s gaps whereas the final numbers assigned avoid the gaps entirely. Though it would require the discovery of many more proof cards to be certain, the numbering of the known proofs at least suggests that an early draft version of the sixth sheet might have filled all 24 gaps prior to renumbering.
Ir reality, the sixth sheet filled only two of the gaps, 143 and 144, while adding the next 21 consecutive numbers to 165.
If you’ve done the math again, you may be pondering how it is that a sheet of 24 cards might only check off 23 numbers. The answer is that the sixth sheet contains the only double-print of the set, Babe Ruth’s card 144, which can be found twice in the second row of the sheet. The sheet also includes Ruth’s red 149 card and the renumbered Farrell (148), Durocher (147), Walberg (145), Sewell (163), and Spohrer (161) cards.
To the extent the five proof cards identified thus far hint at a draft version of this sheet with different numbers, a second even more intriguing question is natural: did the draft version include both Ruth 144 cards, or was a second one added in some later stage of production?
Thickening the plot and potentially answering that question is the existence of a sixth proof card.
Like the other five proofs, its number 121 fits perfectly within the theorized numbering of the original sixth sheet.
However, this particular card did not end up on the set’s sixth sheet. It was bumped to the next one and assigned card number 167.
What this suggests to me is that there were at least two significant changes made to the 1933 Goudey set’s sixth sheet prior to final production.
Cards were renumbered to continue the set’s skip counting scheme.
Jack Russell was bumped to make room for a second Ruth 144 card.
So while I may never own the 1933 Goudey Babe Ruth card I’ve coveted since I was nine, I may well own the player he was traded for, and isn’t that almost as good?! 😀 (Spoiler alert: No.)
So that’s the story I intended to tell when I began work on this article. Unfortunately, facts have a way of ruining a good story, and that’s exactly what happened as I chased down some last-minute research on the topic.
While I am unable to find a photo of the reverse, I trust the Robert Edwards Action catalog enough to add this Al Thomas card to the list of numbering variations. While the true Thomas card (pictured at right) carries number 169 in the Goudey set, the proof card (pictured at left) is numbered 127.
On one hand, a proof card numbered 127 fits squarely within the numbering range of the other proof cards.
On the other hand, like the Russell, it bounced to the seventh sheet of the set.
Had Thomas remained on the sixth sheet along with Durocher, Walberg, et. al., his proof card would have fit my original thesis to a tee. However, with that not being the case, we are left with two possible conclusions.
The whole theory was rubbish to begin with
The theory was mostly right except that TWO Ruth cards were added at the end!
I find this second alternative the more attractive one, largely for self-serving reasons, but also because it begs the question: Which two?
I’ll close with a few quick notes on the proof cards discussed in this article.
While the most evident differences between the proofs and their standard issues are the card numbers on the back, there are also differences on the fronts of the cards. The typesetting of the player name is a frequent difference. For example, the proof version of Al Thomas almost looks like ALTHOMAS (one word) while the standard version separates his first and last name with a period (AL. THOMAS) and crashes into his hat.
While there is some mystery surrounding the precise timing of these proofs, a strong clue comes from the Durocher card. Because his proof has him with the Cardinals, a trade that occurred May 7, 1933, it is clear his proof card was produced after that date.
Thus far each of the proof cards identified with the possible exception of the Durocher is a 1/1, at least as far as known copies are concerned.
According to hobby lore, most or all of the proofs came from a single partial sheet obtained by hobby pioneer Woody Gelman directly from a source at Goudey. (An alternative explanation has been put forth with respect to the Durocher, claiming it was instead created by hobbyists post-1933 as a means of helping collectors complete their sets.)
Author’s note: If you are aware of other 1933 Goudey proofs with numbers that differed from their final printing, please let me know. Following the line of thought in this article, I imagine there might have been 20+ originally.
Author’s note: I suspect what I’m presenting here must have been obvious to the collectors of the day. However, any record of it seems to have gone unpublished. I am hopeful that I am sharing something new and interesting to our readership, but feel free to let me know in the comments if this is more “knew” than “new!”
My previous Cardboard Crosswalk examined the 1941 Play Ball set’s connections to its 1940 predecessor. As I researched and wrote the piece, it was only a passing thought that the 1939 debut offering would contribute anything essential to the story, so I was happy to save the 10+ hours of work any deeper look would provide. It certainly didn’t occur to me that the connection between the 1939 and 1940 set might be the single most unusual and interesting connection between any two baseball card sets ever produced.
Here, then, is the story of an incredible secret, perfectly hidden in the one place nobody would ever think to look: in plain sight.
Williams and DiMaggio
We’ll start the story with the two top cards in the 1939 set, shown here with their 1940 follow-ups.
There is a nice asymmetry to the four cards. As Williams moves from an action pose to a portrait, DiMaggio does just the opposite.
For collectors undecided as to whether they prefer portraits vs action poses, it might seem fortuitous to end up with one of each. The secret of the sets, however, is that there is no happy accident here. This asymmetry is THE defining feature of the 1939-40 Play Ball sets! Let’s take a closer look.
The 1939 Play Ball set consists of 161 cards. (The cards are numbered to 162, but there is no card 126.) Of the 161 subjects featured in the set, 137 are repeated in the larger 240-card 1940 release.
As the graph below shows, these repeated players (red) came entirely from the first two-thirds of the set. Whereas most repeats from 1940 to 1941 reused photos, the opposite was true from 1939 to 1940. Of the 137 repeated subjects, only 11 (yellow) reused the previous year’s photos.
The other 126 (92%) used new photos. It is these 126 slots on the checklist that will be our main focus from this point forward.
Starting off 24 for 24
Here are the first six such cards on the 1940 checklist. (All are Yankees as the 1940 checklist was largely organized by team.) Beneath each card is its 1939 counterpart.
The three action poses from 1940 correspond to three portraits from 1939 and vice versa: Super Asymmetry nearly 80 years before Drs. Cooper and Fowler even proposed the idea on the Big Bang Theory!
Now let’s head to the next 6 cards: 7-11 and 13. And look at that! For every portrait in 1940 an action shot in 1939 and vice versa. Super Asymmetry again!
We’ll pause here, having examined the first 12 repeated players in the 1940 set, to consider the odds of such an outcome having happened by chance alone. While more complicated modeling leading to even lower probabilities is possible, the simplest and best case scenario would be (1/2)^12 = 1/4096 ≈ 0.00024.
And now, onto the next 6 cards: 14-19. Perhaps you’re not even surprised at this point. The probability of asymmetry through the first 18 cards? One in 262,144!
Now here are cards 20-25. The probability by chance now drops to around 1 in 17 million!
Definitely not random!
By now I hope I’ve convinced you that the swapping between portraits and action poses for each player is no accident but a very intentional design feature of the set. I imagine there are two ways this arrangement could have come about.
The photographer, George Burke, could have provided Gum Inc with two images of each player: a portrait and an action pose. Once one was chosen for the 1939 set, the other then became the default photo for the 1940 set.
Alternately, Gum Inc could have been more intentional by either drawing an opposite pose from some larger collection of player photos or asking Burke to provide the opposite of whatever he’d provided the year before.
Either one of these approaches seems to require more planning, consideration, and expense than anything I would have thought possible at the time. It’s really quite remarkable. (And if you are dying to know which of these explanations is more likely, read on till the end. I have a good guess till someone debunks it in the comments!)
Before continuing through the set, I’ll also pause to comment on the connection (so far) between Super Asymmetry and the 1941 set. Granted there were not many players who made the checklists of all three Play Ball sets, but let’s consider those who did (e.g,. Williams, DiMaggio). Gum Inc had already provided both a portrait and an action pose. Were they to provide another portrait of Teddy Ballgame, they’d be copying 1940, and were they to provide an action pose, they at least broadly be copying 1939. The strategy they had employed to make 1940 as different as possible from 1939 had led them to a no-win situation for 1941.
Rather than accept defeat and go with one or the other, Gum Inc pulled the first (and perhaps only!) Kobayashi Maru of the trading card world. By moving to color, they ensured the 1941 series would look completely different from either of its predecessors regardless of whether portraits or posed action was used.
Two dozen more for good measure
Here are the next 24 repeated players, along with their 1939 counterparts.
Once again, each 1940 card shows the opposite pose of its predecessor from 1939. We are now a perfect 48 for 48. Perhaps you can predict the ending at this point.
Not so fast…
As the 1940-1941 crosswalk showed, a set can start out one way and finish another way. Indeed we will not go 126 for 126, which is why we are dealing with only Super Asymmetry rather than Perfect Asymmetry!
Before looking at the cards themselves, I’ll present an updated 1940 Play Ball checklist with nine new shaded cells corresponding to the set’s asymmetry exceptions, i.e., cards where either the 1939 and 1940 photos were both portraits or both action poses.
The seven green cells
First up is Pete Appleton, card 128, who moves from the Senators to the White Sox. (All seven green cell card will involve team changes.) As a side note useful to Appleton supercollectors, Pete Appleton began his big league career as Pete Jablonowski, the name used on his 1933 Goudey and 1934 Canadian Goudey cards.
Lynn “Line Drive” Nelson, card 135, moves from the Athletics to the Tigers, where he certainly lived up to his nickname. Though his at bats were limited as a pitcher, he parlayed his famously low launch angle into a .348 batting average.
Beau Bell, card 138 and French for Beautiful Beautiful, moves from the Tigers to the Indians in his two portraits poses.
Joe Vosmik, card 144, moves from the Red Sox to the Dodgers, a transfer camouflaged by the matching hats but revealed by the differing jerseys.
Pinky Shoffner, card 149, moves from the Braves to the Reds just in time to win the pennant.
Ray Hayworth, card 155, changes sides in the Big Apple’s crosstown rivalry.
Finally, imminent batting champ Debs Garms, card 161 and a featured player in the 1940-41 crosswalk, moves from the Bees to the Pirates.
Our analysis of the 1940 Play Ball set would be ready to tie a bow around if not for two inconvenient cards, highlighted in blue on our checklist.
The two blue cells
Cards 150 and 151 in the 1940 set belong to Cincinnati players Whitey Moore and Eddie Joost, whose stat line upon moving to the A’s makes it look like he might have!
As often happens in the research I do, I have no explanation at all for why these two players had portraits in each set. Looking back at the checklist, I suppose it’s possible that whoever was responsible for cards 143-151 simply didn’t get the memo, and I suppose it’s also possible that Gum Inc simply had no action shots available. At any rate, two is not a big number.
I speculated earlier as to the two most likely explanations for this near-perfect pairing of portraits and action poses. I am ready now to narrow this down to the first of the two.
Let’s assume that the photographer, George Burke, initially took a portrait and action shot of each of the players in the 1939 set, that Gum Inc simply slotted one for 1939 and the other for 1940 as needed.
The one place this approach would fail to provide for the 1940 release would be if a player changed teams. In these cases the leftover photos would no longer be current enough to use. As we have just seen, eight of the ten exceptions to portrait-action pairs occur with players who did exactly that.
The next clue actually came at the very start of this article. (I know it’s bad form to end a Super Asymmetry article with this kind of symmetry, but sometimes it just happens.)
Folks I know who are good at such things tell me these photos of the Splendid Splinter and Yankee Clipper were taken in 1939. (Among the “evidence” presented: “Williams didn’t smile for the camera after 1939.”) If so then it’s easy to imagine a similar story for the other 135 repeated players in the 1940 set.
However, this is a case where the how and the why are less notable than the what. The near-perfect pairing of portraits and action poses is the main headline here as such a connection between the 1939 and 1940 Play Ball sets is something unseen before or after in the long history of the hobby. That this pairing could go unnoticed (or at least unpublished) all this time makes it that much more remarkable.
Appendix for the die-hards
Early in the article I mentioned that 11 of the repeated players in the 1940 set did not get new photos. For completeness, I wanted to at least show them. The first two, Chuck Klein and Gene Moore, appeared in the 1941 set with colorized versions (and uniform updates) of their 1939-40 photos. The other nine players were not part of the 1941 set at all, hence any variety in their cards was limited to black/white vs sepia, slight differences in zoom, and an occasional tilt.
If you’ve collected or window shopped the colorful 1941 Play Ball set and it’s comparatively drab predecessor, I’m about to start with something you already know.
Here are the 15 Hall of Famers in the 1941 set.
And here are their cards in the 1940 Play Ball set, minus Pee Wee Reese who did not crack the checklist. You may notice some similarities.
Aside from the color, some added background elements, and a different tilt to Lefty Gomez’s head, the images are identical. For this reason, the 1941 set is sometimes regarded as a colorization of the 1940 set. (Side note: I had a lot of fun making these!)
Not so fast!
Precisely because the only images from these sets truly burned in my retina are those of the Hall of Famers I was caught by surprise a couple weeks back when I saw these two cards of Babe Dahlgren. (Pro tip: His grandson is a great follow on Twitter.)
Was a different picture really needed just to capture the Babe’s move from the Yankees to the Braves? That would have been odd since numerous contemporary sets managed to update a player’s team without need for a new photo. (See this article for a ton of examples or this article for the set I think did it best.) Or was it the case that I simply didn’t know the 1941 set as well as I thought I did? (Spoiler alert: Bingo!)
Before developing the answer further, I’ll take a quick detour to two famous sets from the previous decade. Here are the first 24 cards in the 1934 Goudey set.
And here are the same players from the 1933 set. They should look very familiar.
Were one to generalize from the first 24 cards in the set, one would suppose a great many of the remaining 72 cards in the 1934 set would reuse art from the prior year. Instead, zero did. Cards 1-24 were all repeats. Cards 25-96 were all new.
Returning to Play Ball, I wondered to what extent a similar rush-to-market image reuse strategy would characterize the first series and whether image reuse would all but disappear in the latter parts of the set. Sixteen and a half hours later…
The first 24 cards in the 1941 Play Ball set feature players from the 1940 set. In each case, the player image is derived from the 1940 Play Ball photo. In that respect, the set—at least so far—follows the precedent of the 1933-34 Goudey sets. None of the 24 players even change teams from one set to the other. The single biggest variation is with card 12, Jimmy Brown, who thanks to a zoom-out manages to (wait for it) regain his footing.
Another similarity to the 1934 Goudey first series is that the first 24 Play Ball cards are disproportionately packed with stars. Nine of the 15 Hall of Famer cards shown at the beginning of this post come from the set’s first quartile, including Carl Hubbell, Mel Ott, Jimmie Foxx, Ted Williams, and Hank Greenberg. (The corresponding count for 1934 Goudey series one is 13 out of 19.)
As Play Ball faced competition from both Goudey and National Chicle (Double Play) that year, it makes sense that they would want to front-load stars as a means of establishing early dominance. Then again, had they known the 1941 Goudey checklist in advance, they might have realized how little they needed to worry.
The first card in the middle third of the set introduced a bigger change than the previous 24 cards combined. Though both card backs put Gene Moore with the Boston National League squad (Bees in 1940, Braves in 1941), his 1940 card front has him in his old Brooklyn Dodgers uniform.
I’ll use the Gene Moore card to illustrate two quick points. For reference, his move from Brooklyn to Boston came on May 29, 1940.
The 1941 Moore card clearly shows that Gum Inc had the “technology” to update a guy’s team without taking a new picture. As such, the team change alone does not fully explain the reason a new Dahlgren photo was used.
The 1940 Moore card is a reminder that procuring updated photos (or manipulating photos) was harder back then than it is now. Even as the back of the card has Moore with Boston, the most recent photo available was a Brooklyn one. Meanwhile, the sets based on artistic renderings were much more able of adjusting player images on the fly.
Where the set really starts to change is at card 27, which starts a streak of 10 of 11 cards that use entirely new player photos. The graph below shows green for players with reused images, yellow for players with new images, and red for players altogether new to the set. Notice that cards 1-24 were all green (i.e., reused images).
As the graph shows, 11 repeated players scored brand new art. The first two of these, cards 27 and 28, along with their 1940 counterparts, are shown below.
This middle third of the set also included two brand new players: Al Brancato (43) and Sid Hudson (46). As with cards 1-24, not a single player in 25-48 changes teams from his previous Play Ball card.
One player whose card may require a double-take is Buddy Lewis of the Washington Senators. Stare at his 1940 and 1941 Play Ball cards long enough, and you may just notice a subtle difference.
Lest you wonder how the artist screwed up so bad in 1941, Lewis was a left-handed hitter, so the 1941 card is actually the correct one. The symmetry of the “W” logo on the hat and sleeve make this error more difficult to detect than most reversed negatives (e.g., 1957 Topps Hank Aaron, 1989 Upper Deck Dale Murphy)—so difficult that I was unable to find reference to it anywhere online or in the Standard Catalog. Could this be a SABR Baseball Cards blog scoop?! 📰 [UPDATE: Trading Card DB has now updated their 1940 Play Ball Buddy Lewis listing to include this UER. Thanks, guys!]
There are no Hall of Famers (unless you pronounce Jack Wilson with a Spanish accent) in this middle third of the set, though there were some players who were at the time considered stars. Still, whatever your metric for star power, cards 25-48 paled in comparison to cards 1-24.
Before proceeding to the final third of the 1941 set, I’ll note here that we may have already covered the entirety of the 1941 release. According to a Rich Mueller article in Sports Collectors Daily, only cards 1-48 were issued in 1941, with cards 49-72 added in 1942. (I struggle to wrap my head around this, particularly as it robs the 1941 issue of its most iconic card, but I’ve been wrong many times before!)
The final 24 cards in the set introduced significantly more new players than did the first 48. Most famous among the 8 new players was card 54, the rookie card of Harold “Pee Wee” Reese, but close behind Pee Wee are cards of the lesser two DiMaggio brothers: Vince (#61) and Dom (#63). As brother Joe was card 71 in the set, one-fourth of the final dozen cards in the set were DiMaggio cards!
This final series also introduced the only team changes (shown in blue) between 1940 and 1941—
Babe Dahlgren (49) – Yankees to Braves
Morrie Arnovich (57) – Phillies to Giants
Frank Demaree (58) – Giants to Braves
Jack Knott (68) – White Sox to Athletics
Interestingly, Dahlgren and Arnovich got new photos while Demaree and Knott did not. Aside from the Dahlgren/Arnovich cards, only one other player, Elbie Fletcher, received a total makeover.
By the end of this article, I hope to offer a credible explanation for what at the moment may present as two oddities of series three:
Why did two traded guys get new photos while two traded guys didn’t?
Why did Fletcher get a new photo?
Wish me luck!
An even closer look
Of the 72 cards in the 1941 Play Ball set, 10 are of brand new players, 48 repeat a 1940 player and his image, and 14 repeat a 1940 player but swap in a new image. Though it’s not immediately evident what it all means, an unexpected pattern emerges when the 48 photo repeats (blue) and 14 photo swaps (yellow) are plotted against the 1940 checklist.
With only three exceptions, all the yellows are at the end of the set, and all the blues are at the beginning of the set. (Blue card 161 may be considered slightly out of place, and I’ll return to it later.) The three yellow exceptions are…wouldn’t you know it!…Dahlgren (3), Arnovich (97), and Fletcher (103)!
The other 11 yellow cells, all of which sit neatly within a run of 32 cards near the end of the 1940 checklist, are pictured below, alongside their 1941 counterparts.
Is there any pattern or common denominator behind these cards that suggests why these 11 (or 14 counting the oddball three) players were singled out for new photos? I will share a few things I don’t think it can be and then wrap up with my leading theory at the moment.
Rights and permissions to images – One reason to find a new photo would be if the permission to use certain photos did not extend into 1941. Perhaps Gum Inc never got around to securing rights to the photos in the final series of the 1940 set, hence was unable to use them in 1941. However, with the exception of certain retired stars, my belief is that all photos in the two sets came from the same photographer, George Burke. While this doesn’t completely preclude rights issues, it makes them less likely.
Damaged photos/negatives – Is it possible the original photographic sources that would supported image reuse in 1941 were somehow lost or destroyed? It’s always possible, but I would think the Plan B for that would be to choose different players rather than take new pictures of the impacted players.
No reason, just random – The non-random distribution of the blue vs yellow cells on the checklist convince me that randomness was not at play.
My best guess
Author’s note: What follows is largely speculative and quite long. It’s okay to skip it you came to SABR for Research with a capital R!
Following the mammoth 240-card release of 1940, I suspect Gum Inc saw little need to push out anything comparable in 1941. The 1940 cards had largely scratched the collecting itch of most young gum chewers, who might now rather spend their hard-earned pennies on cards of airplanes or Superman. Even with a colorful new design, ripping a 1941 Joe Krakauskas when you already had his 1940 card might feel like a penny wasted. As such, a much more modest offering would have felt more appropriate.
Naturally, selecting 72 random players from the 1940 checklist would have done little to boost the appeal of the new set. I believe the plan was to start with 48 cards (two series) reflecting the “best of” the 1940 set. These cards would constitute the core of the new set and be tolerated if not welcomed by collectors due to the colorized images and preponderance of top stars.
Selecting these 48 cards would be easy. Aside from retired greats, all the top players of the 1940 set could be found among the set’s low numbers (1-144). Selecting one third of those cards to reprise in 1941 was all that was needed to arrive at 48. There was only one small rub to the approach, which is that it would leave out the reigning National League batting champion.
“What the hell! No Debs Garms? You’ve gotta be kidding me! Stop what you’re doing and find a way to get a Garms into the set.”
That’s exactly what I picture some guy’s boss yelling upon seeing an early draft of the 1941 checklist. After all, how do you leave out a guy who just hit .355? And what do you do when your boss yells at you and you know he’s right? You go and get the Garms.
And this is how the 48 blue cells in the checklist came to include one lone high number, card 161, among them. Of course, adding Garms also meant subtracting someone else. I know it’s a convenient theory on my part, but I honestly believe THE thing you’d do is swap out a Pirates teammate. Get ready to be outraged, sabermetricians, but I would bet a lot that this is exactly how it went!
We now have the core of the set, 48 players from the previous issue, colorized but otherwise unchanged in any significant way. Perhaps not to a man but at least broadly, these 48 could be construed as a “best of” or “top stars” reissue of the 1940 series. Maybe nobody wanted that second Joe Krakauskas, but they’d be okay with most of these guys.
From there, the brain trust at Gum Inc could take the set in a couple of different directions. Extending the same formula for another one or two series was certainly possible, but the talent pool would now be far thinner. The other approach would be to abandon the 1940 blueprint entirely and offer collectors something they didn’t already have.
First and foremost, that second strategy led to the introduction of ten brand new players who had not appeared at all in the 1940 set.
Bronk, who had taken over shortstop duties for the A’s, was probably not a player kids would have killed for, but the other nine players were pretty legit at the time: all-stars, MVP vote getters, popular young rookies, brothers of the Yankee Clipper, etc. Without a doubt these players brought more star power than your average ten leftovers from the 1940 checklist, and of course there was the added bonus that these were good players kids didn’t already have from the year before.
The inclusion of these 10 newcomers left the set only 14 cards shy of completion. The 1940 low numbers had been cleaned out, top newcomers had been added, and there was only one reservoir of talent yet to be tapped: the largely low wattage 1940 high numbers. Retired immortals aside, pickings were somewhat slim, but on the bright side only 14 players were still needed, and really not even 14.
Here is what I believe went down in some Philly boardroom circa spring 1941.
Fletcher, fresh off his unceremonious dumping, was the first to make the cut.
Dahlgren and Arnovich, whose team changes offered an added jolt, joined the party.
And finally, the dreaded high numbers were scoured for another eleven players.
Realizing this last group brought the least sizzle on its own, a decision was made to spruce up this final fourteen with all new photos. And from there, the rest is history! (UPDATE: See Epilogue for an alternate theory that probably has this one beat.)
I can’t say I’d bet a million dollars that what I’ve just described is a 100% accurate depiction of how the 1941 Play Ball set was designed. It’s possible it’s not even 10% accurate. Either way, I will make sure you don’t regret reading all the way to the end of this post by rewarding you with perhaps the tastiest eye candy in the universe.
Well this was unexpected. As it turns out, the follow-up article I wrote after this one helped me understand the 1941 set even better. If you don’t care to read the article, the short version is this:
The 1939 Play Ball set included a mix of portraits and action poses. Ditto for 1940.
Where a player had a portrait in 1939 he got an action pose in 1940 and vice versa.
The result was across the two sets nearly every player got a portrait and an action pose.
For each of these players, I suspect both photos were taken in 1939, with the one not used on the 1939 card set aside for the following year.
Back to the article at hand, you’ll recall this graphic from near the end. These were the 11 players from the 1940 high numbers who ended up with new photos in the 1941 set. However, there is another thing these 11 players have in common.
Of all the players in the 1940 high numbers and the 1941 set, these are the only players who are not in the 1939 set. That by itself is kind of neat. But of course there’s more. Take notice of how many of these players have both a portrait and an action shot across the two sets.
Just as (I speculate) George Burke shot portraits and action shots in 1939 for each player in the 1939 checklist, I suspect he did the same in 1940 for any newcomers to the 1940 checklist. If so, what we are seeing in nine of these eleven cards from 1941 is the leftover shot not used in 1940.
So perhaps the reason for the new photos on these 11 cards is what I initially proposed in this article—i.e., that Gum Inc wanted to spruce up what might otherwise be the most boring cards in the whole set. I am now more inclined to believe that the use of the new photos was simply because Gum Inc had the photos and hadn’t already used them anywhere else.
I’ll close the epilogue with a few notables that come only from looking at all three sets together. First, here are the only two players (of 45 total) appearing in all three sets who ended up with the same photo every time. The first is a familiar name, and the second was introduced in the “Cards 25-48” section of this post.
And on the flip side, here are the only players with three different photos across the three sets, referred to earlier in this article as the “yellow exceptions.”
I’d better stop now before the epilogue grows even longer than the post!