When I was in high school, my cousin from San Diego would visit for a week or so during summer breaks. We didn’t have a whole lot in common, mainly because he was from the big city on the west coast and I was from small town in the midwest. One thing that we did share, however, was a love of baseball and baseball cards, particularly a love of our hometown teams. For him, it was the Padres. For me, the Reds.
I’m not sure how it came up, but one day I remember him dropping a bombshell on me one time that the Padres almost moved to Washington D.C. I remember being confused as I’d never heard the story before. After looking it up, I realized that the story was true and there were actually cards that Topps printed in the 1974 set that documented this curiosity. These cards had Padres colors but with the team labeled simply as “Washington Nat’l League” as the team’s new name had yet to be determined.
One of my current collecting quests is to put together the whole set of these cards. Currently I’ve got six of them, all of which I’ll document here, along with some player and/or team info as I go.
By the time the 1974 season rolled around, the Padres were bad. The most wins they’d managed to muster in a season was 63 in 1970, and in 1973 they went 60-102 under manager Don Zimmer. This team card represents what was thought to have been the last Padres team when it was all but confirmed that the team was moving to Washington.
However, the sale to new owner Joseph Danzansky got tied up in legal action, and Ray Kroc (yes, that Ray Kroc) stepped in and saved the franchise. For the record, the 1974 Padres squad went and identical 60-102 under new manager John McNamara.
Vicente Romo was a well-traveled pitcher by the time he landed in San Diego via a trade with the White Sox. In his two years with the Padres, he was 7-8 with a 4.08 ERA over 103 appearances (all but two in relief). After the 1974 season, he was out of the majors and played in the Mexico until he briefly resurfaced with the Dodgers in 1982.
Fred Kendall was one of the original Padres and spent pretty much his whole career in the down in the 619 (that’s the San Diego area code for those not in the know) with the exception of 1977 (Cleveland) and 1978 (Boston). In 1974, he hit .231/.308/.333 with 8 homers and 45 RBI. You may also know him as the father of longtime Pirates catcher Jason Kendall.
Nate Colbert was another of the original Padres and was coming off three straight All-Star campaigns in 1974. His batting average slipped dramatically in 1974 from .270 the year prior to .207. After the ’74 season, he was traded to Detroit and then bounced from there to Montreal and finally two games with Oakland in 1976.
Glenn Beckert had spent his whole career with the Cubs before a November 1973 trade to the Padres. His time in San Diego was not a happy one. Hampered by injuries, he only played 73 total games for the Padres, the majority of which were in 1974 and then was released by the club in April 1975.
And now, we come to the final Washington card in my collection and most notable Washington card overall, Willie McCovey. I think it’s pretty cool that there’s this Washington variation card of a Hall of Famer floating around in the 1974 Topps set and when I got back into collecting this was the first single I bought from the card shop. I found it digging through a vintage bin and promptly snatched it up. Old “Stretch” spent about 2 1/2 seasons with the Padres and clubbed 52 of his 521 career homers with them. Also, could you imagine McCovey playing in Washington, DC? I can’t.
If you’re like me and are interested in collecting the whole run, there are 15 cards to this set:
#32 Johnny Grubb
#53 Fred Kendall
#77 Rich Troedson
#102 Bill Grief
#125 Nate Colbert
#148 Dave Hilton
#173 Randy Jones
#197 Vicente Romo
#226 Padres Team Card
#241 Glenn Beckert
#250 Willie McCovey
#309 Dave Roberts
#364 Clarence Gaston
#387 Rich Morales
#599 Rookie Pitchers – Ron Diorio/Dave Friesleben/Frank Riccelli/Greg Shanahan
Last December fellow print geek @robbyt86 tweeted an astute observation about someone else’s printing plate rainbow when he noticed that the rainbow consisted of both regular and Chrome cards and that the Chrome cards were printed in reverse. The top two printing plate cards in the image are regular paper printed right-reading (as can be seen in the jersey logo and number). The bottom two are Chrome printed wrong-reading.
*and that there was a decent chance that the protective coating on Finest is still on the clear layer of these Chrome/Finest cards today only it’s getting peeled off after printing but before packing.
So I decided to soak one of my excess Chrome cards to see what I could find out. I selected a 2015 Topps Chrome Hunter Strickland for this since I had gotten tired of him after the 2018 broken hand debacle. 2015 is a good design for this since the colored border meant there was, presumably, some opaque white right there on the edge.
Soaking went well. Card came apart as expected except for the surprise Tide Pod marks inside the card stock. After cleaning everything up I was left with just the front of the card and a literal foil backing.
The next step for me was to start sanding each side to confirm what side the ink was on and see if I could find a way to remove just the foil. This didn’t work super well but I did confirm that the ink is indeed printed on the inside layer of the plastic. You can make out the scuff marks on Strickland’s face and how they stay on the surface of the card rather than removing any ink. Compare this to where I sanded on the back by the Giants logo. The foil and image both start to disappear—especially along the edge.
So in addition to cards I have a fairly extensive collection of wrappers from the 1980s-today because you never know when you’re going to need to go to the wrapper to answer a question. On the 1997 Finest Series 1 and 2 wrappers they have the following language:
Topps Finest is a registered trademark of The Topps Company, Inc.
SGW US Patent #4933218, #5082703, #5106126, Chromium (R), Holochrome (R), #5223357, Skin Protector TM, ClearChrome (R), Pat. Pending
I don’t have a 1996 Finest wrapper, but I do have one from 1995 and none of that language is there. The 1998 Finest wrapper is nearly impossible to read (the wrapper is clear so the print on the back gets jumbled with the design on the front) but it also mentions US & Foreign patents for Chromium, Holochrome, Skin Protector, and ClearChrome, though there are no patent numbers. The earliest Topps Chrome wrapper I have is from 2002 and it has the same language as the 1998 Finest wrapper.
This was fantastic and turned out to be exactly what I was looking for. Patents 5082703, 5106126, and 5223357 in particular describe exactly what’s going on with Finest and Chrome.
Patent 5082703 describes the clear layer,* how it’s printed on the back side, and how the thickness of the ink printed can be changed so as to create textural effects. The pictures in the patent show a generic image in Figure 1 with Figures 2, 3, 4, and 7 representing different cross sections with the clear layer always being labelled 12 and the different ink layers on the back being shown in profile.
Patent 5106126 meanwhile covers the opaque masking of portions of the printed image so that multiple finishes are available after a metallic layer is added to the piece. More specifically it builds on printing on a clear substrate (what the previous patent covers) by depositing an opaque layer behind select portions of the image before layering reflective/metallic material on the back of the entire piece. This results in some portions of the printed piece having a metallic sheen and other pieces being dull and paper-like.
One key point here is that metallic layer is laminated or sprayed on to the substrate. This is not how cards are produced so the key takeaway here is the custom opaque ink sections.*
The last patent, number 5223357, covers the assembly of the cards. The patent specifies holographic film but the key takeaway for me is that it discusses adhering together two distinct sheets—the clear layer (labelled 12) and the metallic/holographic layer (labelled 14)—rather than the single sheet that the other two patents discuss.
The cross-sectional drawings in this patent also distinctly show how the ink is located between the two layers and confirms that my hypothesis about how these cards are assembled is correct.
It also explains why the Chrome printing plates are wrong-reading since, once they’re printed on the the clear substrate, they become right-reading when viewed through the plastic.
When you look at a Chrome card you’re looking at the back of the printing through the clear plastic sheet that it’s been printed on. The non-shiny sections have opaque white ink printed on top of the colored inks (remember you’re looking at the back of the printing). The shiny sections are from a foil sheet that has been glued to the plastic sheet. The rest of the card is regular paper card stock* on which the card backs are printed just like traditional paper cards.
*The plastic/paper dual composition is why Chrome cards tend to curl so much. Paper responds to humidity much more than plastic and so depending on conditions in the Topps plant vs conditions in your home it will expand or contract a little and result in curling.
When I wrote my post about Collect A Books, I stuck my nose into Google Patents because it was the easiest way for me to produce a citation for Bouton actually being the inventor. Once inside though I couldn’t help myself and started looking around at other patents related to baseball cards.
I should’ve realized the danger here. As someone with a mechanical engineering background, patents and patent drawings are always something I enjoy looking through. So without further ado, a handful of patents which correspond to cards that we’re somewhat familiar with. Since this blog doesn’t keep a patent attorney on retainer I’m merely going to note the patents and what cards the correspond to.
Patent number 5328207 dates to 1991 and describes sticker autographs. I don’t remember these existing at all in the early 1990s so it’s interesting for me to see this showing up so long ago. I do like that the patent application is clearly a baseball player rather being a more-generic person.
Patent number 7413128B2 is another one owned by Upper Deck and concerns relic cards. There are a bunch of relic card patents out there, each with different methods of enclosing the pieces. I like this one since it’s held by Upper Deck and because it’s got the best images about how the relic cards are assembled and how they can accommodate different kinds of enclosures.
That this patent dates to 2004—a decade after relics had been out in the wild—shows how companies have been trying to improve and update the relic card to be more than just a small swatch of material. This patent isn’t just relics, it’s any insert from cut autographs to manufactured non-card materials and it doesn’t even have to be flat.
It’s interesting to me how so much of the patent application concerns the gambling aspect of the rip card and emphasizes how the outer card is intended to be destroyed.
I plan to continue digging through the archive and seeing what else I find. I’ve found some cool-looking stuff that doesn’t look like it was ever turned into a product. There are also a few products which I’d love to find patents for (Topps Chrome I’m looking for you) since I’ve been reverse engineering their production for a while as part of future posts. And if anyone else wants to start digging (even just starting with the related patents in the citations here), the more the merrier.
To celebrate the 50th anniversary of the Moon Landing, the SABR Baseball Cards blog is pleased to announce the “Apollo 50 All-Time Team!”
Our right-handed starter is John “Blue Moon” Odom, and our lefty is Bill “Spaceman” Lee. Coming out of the pen are Mike “Moon Man” Marshall and Greg “Moonie” Minton. Sadly, a failed drug test kept a certain fireballer with a space travel-themed nickname on the outside looking in. Finally, in keeping with tradition, Tony “Apollo of the Box” Mullane was intentionally overlooked.
Behind the plate is Fernando Lunar, who enjoyed a cup of Tang with the Braves before assuming backup duties for Baltimore in the early 2000s.
While primarily an outfielder, Wally Moon will man first base and provide some power from the left side of the plate with his prodigious moonshots.
Ford “Moon” Mullen won the first ever NCAA Men’s Basketball title as a member of the 1939 University of Oregon Webfoots five years before he made his Major League debut with the Phillies in 1944. Owing to the dearth of baseball card sets at that time, his only playing era cardboard comes from the 1943 Centennial Flour Seattle Rainiers set.
Mike “Moonman” Shannon had a solid nine-year career with the Cardinals, highlighted by titles in 1964 and 1967 and a 1968 season that included a pennant to go with his seventh-place finish in an unusual MVP race where four of the top seven finishers were teammates.
“Houston, we have a problem. Our shortstop has a .185 career batting average!” Can the Flying Dutchman be modified for space travel?
“The Rocket,” Lou Brock, is our leftfielder; “The Gray Eagle,” Tris Speaker, plays a shallow center, and patrolling rightfield is Steve “Orbit” Hovley.
Looking for his first ever Big League at-bat is Archibald “Moonlight” Graham.
Without this man, would there even have been an Apollo program?
Though he never suited up in the Bigs, we’ll gladly take a guy named Crater who managed the Rockets.
And speaking of guys named Crater!
But seeing as this Crater is a volcanic crater rather than an impact crater, we will double-dip by adding the inimitable Orbit!
Feel free to use the Comments section to air your snubs (“What? No ‘Death to Flying Things’ Ferguson?”) and note your Pilots sightings (Hi, Tim!). We’ll radio our guy in the Command Module and be sure your thoughts receive all due consideration.
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!
Listen: Ichiro is the Guy Montag of George Sisler.
Like many students, I read Ray Bradbury’s dystopian classic, Fahrenheit 451, in middle school. Several of its ideas stuck with me for years afterward and I picked up a personal copy not long ago, to keep them fresh.
Near its climax, protagonist Guy Montag joins a clan of exiles who protect the written word from state-organized destruction. They memorize whole manuscripts as hedge against an American society locked in fiery struggle against its own texts. Guy’s recall of a portion of the Old Testament book of Ecclesiastes becomes his torch to carry.
Whatever your religious background, many SABR readers also know some Ecclesiastes, thanks to Pete Seeger’s adaptation of its third chapter into the 1960s folk-rock hit “Turn! Turn! Turn! (To Everything There is a Season),” intersecting with antiwar themes from Bradbury’s 1953 novel.
This cultureball matters to me now because of the link between Ichiro, one of our greatest 21st century players, and George Sisler, his parallel from a century ago.
I used to know just table scraps about the onomatopoeically “hot” Sisler. I rememberlots of other stuff, like how Dave Philley spent three years as a Phillie (1958-60) and Johnny Podres finished his career with the Padres (1969). Yet…diddly about “the greatest player in St. Louis Browns history.”
Sisler retired in 1930, explaining why I find him so unfindable. Despite writing about cards for years at the Number 5 Type Collection, almost all of my card research follows Goudey Gum’s 1933 baseball debut, making earlier players a crapshoot. Even my deep dive into a trivial question, “Who’s E.T. Cox and why’d he appear on a card in 1927?” stands out for what didn’t happen, not what did.
I give Ichiro full marks for breaking an 84-year-old record when he notched 262 hits in 2004. Yet hitting isn’t their sole connection. Let’s catch up with George, circa 1920.
Kids could buy this artful W514, trimmed from a strip of five, out of arcade vending machines during Sisler’s mammoth performance for an otherwise fair-t0-middling 1920 Browns squad.
.407 average, 1.082 OPS, 182 OPS+
MLB record-setting 257 hits, in 154 game era
49 doubles, 18 triples, 19 homers, 42 SB
Zero other seasons in MLB history include that balance of speed and power. None! Ichiro came close as a base runner, stealing 40+ bases five times, turning ground ball singles into scoring threats. As frosting to his power cake, George Sisler led the AL in steals four times.
Even if you drop stolen bases as criteria, just one other season in history, Lou Gehrig’s 1927, includes at least 49 doubles, 18 triples, and 19 homers. The Iron Horse, of course, enjoyed Murderers’ Row as “protection” for his spot in the lineup. St. Louis, however, depended on George’s stealing prowess just to get more guys in scoring position.
While pitching had moved to his back burner by 1920, George nonetheless closed out St. Louis’s final game on October 3 from the hill (box score), perhaps to help home fans enjoy one last bit of that remarkable year. Although he notched a .420 average two years later, OPS+ rates 1920 “better,” as Sisler hit fewer homers in 1922 (career stats).
Two of Sisler’s sons, Dick and Dave, went on to their own baseball careers. The former intersected with Ichiro’s future home as 1960 manager of the Pacific Coast League’s Seattle Rainiers.
While we’re visiting the past, let’s pretend we’re 12 years old again and snicker at how Dick Sisler appears on a Skinless Wiener trading card. (Players came one to a package.) Cross your legs and fire up the grill!
When Ichiro’s torrid pace projected to break the hits record in 2004, he also connected with still-living Dave Sisler, who enjoyed renewed interest in George’s past achievements and some of the Sisler family traveled to Seattle to see Ichiro break the record in person. (Topps mentioned that moment on Ichiro’s Season Highlights card.)
While I’m not surprised a guy with 3089 hits proved a student of hitting, it stands out that he’s a student of Sisler. Should this whole Internet thing burn to the ground, echoing the fiery urban chaos of Fahrenheit 451, I bet Ichiro can teach us plenty about George’s tools and talent.
The PSA Card Facts for the set note only that “The set’s most scarce and therefore prized piece is Card #68 (“Ted Signs for 1959”), which Fleer withdrew from the collection early in production.”
A more detailed PSA write-up on the card itself notes only that the “card was pulled from production early due to an alleged contract dispute with Buck [sic] Harris (the other man depicted on the card), resulting in a higher degree of scarcity.”
An article on Cardboard Connection is equally mum: “As a result, the card had to be pulled from production, pushing values up.”
A listing at Dean’s cards indicates that “Fleer was forced to remove the #68 card from distribution, due to the legal issues of using Harris’ image without his permission.”
An article on the set from Sports Collectors Digest refers to card 68 as “a single card that ended up being pulled off the presses…”.
From Sports Collectors Daily (2012): “During the production process, the card was yanked from the set, creating a rarity that has driven set builders crazy for years.”
From Sports Collectors Daily (2016): “Fewer copies exist of that one compared to the other cards in the set because printing of it ceased early when the set was being created. It seems Red Sox GM Bucky Harris was under contract to Topps and thus, couldn’t appear in a Fleer set. Fleer stopped the presses and pulled #68 but not before some of them had already been printed.”
From Tuff Stuff: “Fleer was forced to pull the card early from production.”
From Robert Edward Auctions: “This card was withdrawn from production due to legal issues relating to Fleer’s unauthorized use of Harris’ image.”
From Heritage Auctions: “[The card] is known for being difficult due to being pulled from circulation since Bucky Harris (who appears on this card) was under contract with Topps.”
From Leland’s: “The key to the 1959 Fleer Ted Williams Set. The Ted Signs for 1959 card #68 was pulled from production early making it a bit scarcer than the rest of the set. “
From KeyMan Collectibles: “Topps had Bucky Harris under exclusive contract and Fleer had to stop production of card 68 ‘Ted Signs for 1959’ making it a rare short print. Only a few made it out to the public.”
Equivocating on the issue one final time is this Heritage listing for an unopened box, which suggests the card shouldn’t be in the packs but might be.
“We can only speculate if card #68 ‘Jan 23, 1959 – Ted Signs for 1959’ can be found within. History says it should not as the card was not supposed to be sold.”
Heritage Auctions listing #80171
If it were well known or provable that card 68 did in fact make it into at least some packs, I have to imagine the Heritage catalog would have played up that fact in its listing. As it is, my read of the listing is much more a “probably not” than a “maybe.”
Of course, if I learned anything at all from my History teacher, primary sources are always best. As such, let’s see what the Frank H. Fleer Corporation had to say about the card back in August 1959.
A full transcript of the letter is here, but the key lines are these:
Due to the possibility of legal overtones, card #68 of the Ted Williams series was not put on the market for sale. However, it was made and we have been able to send several to people such as you who have inquired.
So there you have it, right? Straight from Art Wolfe at Fleer, we see that card 68 was not put on the market for sale, i.e., did not make it into packs.
The ultimate primary source
However, where baseball cards are concerned, there are sources even more reliable than the Assistant Promotion Managers of the companies that make them. The best authority on card 68 and the only source truly worthy of the label “primary” is of course card 68 itself!
As luck would have it, I finally picked one of after all these years. I think you’ll agree it’s not a bad looking “2.”
I have to imagine the grade was based more on the card’s reverse, which has a prominent wax stain and a crease that shows up the right lighting makes evident.
Wait a minute! Did somebody say wax stain?!?! Let’s crack that card out of its plastic prison and get a better look.
Sure enough, it’s a wax stain. MYSTERY SOLVED! And lest you think this one card managed to sneak through quality control, here’s another…
This is also a good spot to thank reader “athomeatfenway” for the tip to check out page 212 of the Ted Williams bio “In Pursuit of Perfection” by Bill Nowlin and Jim Prime. Here, dealer Irv Lerner recounts an incredible story of the 1959 Fleer set along with his recollection of card 68 specifically.
“The initial run did have the number 68s in it. Two or three months afterward, they damaged that part of the plate so they could pull it out.”
Incidentally, the wax stains do more than confirm that card 68 made it into wax packs, albeit very early ones. The stains may also provide a rough means of estimating how many of these cards were issued in packs versus through direct correspondence with Fleer.
Imagine that one had access to front/back scans of a large sample of the card, for example, all 1200 or so PSA/SGC graded examples of card 68. Now assume 30 of the cards exhibited wax stains. Since the cards were issued in packs of 6 or 8 cards apiece, we might infer from the 30 stained cards that between 30 x 6 = 180 and 30 x 8 = 240 of the 1200 cards (about 15-20%) came from packs.
One of our readers, Derek, provided this information via email.
Most sure these [wax-stained “Ted Signs” cards] came from 8-card packs as those were the first production line. They did not make 8-card packs after they pulled #68. That is another reason they are extremely rare to find.
In doing my research for this piece, I ran across some information outside the main storyline that nonetheless felt worth sharing.
First up, here is a 1958 photograph of Art Wolfe, the Fleer employee who signed letters to collectors in 1959. Source: October 12, 1958, Press and Sun-Bulletin (Binghamton, NY).
By March 1959, Mr. Wolfe had joined Fleer and was in Clearwater, Florida, doing his best to sign ballplayers. Source: March 21, 1959, News Journal (Wilmington, DE).
The following week the Fort Lauderdale News (March 25, 1959) covered the signing of Ted Williams by Fleer as an early sign of the cardboard apocalypse.
And a week after that, the April 2 (subscription required) Press and Sun-Bulletin (Binghamton, NY) covered Mr. Wolfe from Fleer in the middle of his “Just say no to Topps” campaign.
You might be surprised to see all this coverage of the baseball cards wars long before the financial side of the hobby exploded. Still, this stuff really did matter to kids back then! Here is the May 22, 1961, edition of the Miami News.
Fleer took a break from the baseball card business between 1963 and 1968, so it’s not surprising that Art Wolfe would return to his sportscasting roots, eventually becoming sports director for WPEN, known today as “97.5 The Fanatic.” Here is an ad from the July 13, 1965, Philadelphia Daily News.
Following his tenure with WPEN, Wolfe went on to become a sports reporter and anchor for Philadelphia’s KYW. This letter from a young reader in June 1986 stands as proof not only that Philly sports fans are the worst but that they start young! 😄
Clare R. “Art” Wolfe passed away in 2008, having spent most of his life a radio and TV man doing sports. However unappreciated his work may have been by an eighth grade Gregory Popowski, many of us—but not quite all of us—with complete 1959 Fleer Ted Williams sets owe Mr. Wolfe a debt of gratitude for putting those cards in the mail.
Committee note: Tomorrow the SABR Baseball Cards blog will be celebrating 400 posts with a specially themed article revolving around the number 400. Any guesses? Fitting though it might have been, you can probably already rule out Ted Williams!