I have 12 decks of playing cards that I’ll never use.
They’re called Hero Decks, and they first came out around 2005, as far as I can tell.
These are regular 52-card decks of playing cards (plus “jokers”) that feature caricatures of famous people – whether it’s famous figures from history or politicians or musicians or athletes.
I collect the baseball decks, and they’re done by city. They are advertised as such (Boston Baseball Heroes, Philadelphia Baseball Heroes) I’m assuming due to licensing issues. The Milwaukee deck features both Braves & Brewers greats, and the Los Angeles & Brooklyn deck features Dodgers greats across all eras. The San Francisco deck sticks to only San Francisco Giants. There are separate Chicago decks (North Side & South Side) as well as separate decks for New York (Yankees & Mets).
I bought my first deck (the White Sox deck) at a Borders bookstore probably in the late 2000s (I miss Borders) and shortly after I picked up the Cubs deck and the Milwaukee deck. One of the decks had a mail in offer for a free deck and I added the Yankees. In 2013 I worked a series of Cubs broadcasts in Pittsburgh and while visiting the Pittsburgh Sports Museum I found the Pittsburgh deck. I purchased a few on eBay (Philadelphia, St. Louis & LA/Brooklyn) and one on Amazon (Cleveland), and I also make a habit of buying a deck when I visit our friend the Mayor in Cooperstown (they sell Hero Decks at the Hall of Fame!), as I have picked up Cincinnati, Boston & San Francisco each of the last three trips I have made.
I absolutely love them. Not only do I enjoy the artwork (I dabble in drawing in my free time – I may soon do a post of the baseball cards I draw*), but it’s sort of like one massive baseball card set since they all look similar, except for a slight difference in style in the earlier decks. Those earlier decks (like the Jackie Robinson card shown below from the Los Angeles & Brooklyn deck) feature a larger player image, the name of the player, position and years with the team. The later decks (see Dick Allen card) give you a brief factoid about the players.
Editor’s note: YES PLEASE!! (HIS ARTWORK IS INCREDIBLE!)
Luckily for me, my two favorite players to collect are featured in multiple decks!
Whenever possible, the numbers on the cards correspond to the positions played. And the four suits are divided up among eras, as best as could be done.
The Aces are, well, aces!
The Kings are generally reserved for the hardest hitters. Particularly the Kings of Clubs, or at least it seems that way.
The 10 is used as a spot for the best players who didn’t crack the starting 2-9 slots. The Jacks & Queens are usually reserved for the rest of the outstanding pitchers.
…but other times are simply used like the 10 for other top players.
Since not all teams are the same strength, I think it’s cool to see some players crack the decks who you wouldn’t expect.
One thing I am excited to see with each deck I open are who the “jokers” are. It’s a wild card spot for…
And even Broadcasters! I love that; otherwise there would be no cards of Harry Kalas, Marty Brennaman, Jack Brickhouse & Jon Miller in my collection!
There have been updates to at least a few of the decks, which is exciting. There’s an updated Cubs deck for after they won the World Series; I haven’t tracked that one down yet. It may look strange in my binder. I don’t really want to put in duplicates, so I think I’ll just add the new cards to the Cubs section.
But yes, I know, these are card collector problems. I’ll gladly figure out a solution when the time comes.
The bronze plaques of the Hall of Famers that hang in the gallery in Cooperstown could be considered the ultimate baseball cards, though obviously no collector (not even Keith Olbermann) can collect them. The closest we can come is by collecting the classic Hall of Fame plaque postcards – a living set (predating the Topps Living Set by several decades) that is augmented each year by the annual class of new Hall of Famers.
A subset of the Hall of Fame plaque postcards that I’ve enjoyed collecting over the years is the variations created when one of the original bronze plaques is replaced by a new, altered plaque (and that new plaque is then reproduced on a postcard).
By my count, at least 16 original plaques have been replaced over the years by altered versions (with changes to the likeness, name or text), including one that’s been changed at least twice, and another that’s been changed at least three times. This is only an informal survey, based on my examinations of the plaques currently on display in the Hall, photographs from induction ceremonies, my collection of Hall of Fame plaque postcards, and readers’ responses to the original posting of this article (which alerted me to the Ruth, Barrow and Fisk variations). I inquired at the Hall of Fame library about (1) any sort of official list of changed plaques and (2) any archived correspondence regarding the when and why of the changes made, but was told (1) that there was no such official list and (2) that any such internal correspondence was not available for public view.
Here’s what I’ve got as of February 2020:
As strange as it may sound, what must be the most-read plaque in the Hall and, I’m guessing, the best-selling plaque postcard every year, originally had the wrong year for Ruth’s major league debut — an error that went uncorrected for nearly 70 years! Ruth’s incorrect career span of “1915-1935” on his original plaque was changed to the correct “1914-1935” at some point in late 2005 or 2006. (Thanks to Jimmy Seidita for pointing out the change in Ruth’s plaque and for the link in his comment below to a 2005 New York Times article about the plaques.)
The likeness on Ed Barrow’s original plaque was changed sometime between 1954 and 1959 – this is the earliest change in a plaque that I’ve found. Elected by the Veterans’ Committee in late 1953, Barrow was formally inducted (and his original plaque likely made its public debut) at the following summer’s ceremony with the Class of 1954. The original plaque appears on Artvue Type 1 (no bolts) postcards (produced from 1953-1955), but I haven’t been able to find the original on an Artvue Type 2 (produced from 1956-1963), so the change may have happened prior to 1956. I do have a Hall of Fame guidebook published in July 1959 that shows the replacement plaque. (Thanks to Adam Penale for pointing out the change in Barrow’s plaque.)
Author’s question: Is there an Artvue Type 2 postcard showing the original Barrow plaque?
Even given the limited space on the plaques for describing an inductee’s achievements, the Hall has made some curious editorial choices over the years when composing the text (Barry Larkin’s plaque fails to mention his 1995 NL MVP award, for example), but no omission was more glaring than the fact that Jackie Robinson’s original plaque made no mention of his integration of the major leagues. His 1962 plaque (left) was replaced in 2008 with an altered version of the text (right) that remedied that situation. There’s a discussion of the change on the Hall’s website.
It appears that Feller’s plaque has been changed at least three times. His original plaque from 1962 (top left in the photo below, on an Artvue postcard) was later replaced by a plaque with two changes: a different likeness, and his winning percentage in the last line of text erroneously changed from “P.C..621” to “P.C.,621” (top right, on a Curteichcolor green-back). That second version was replaced by a third version that had his career years listed as “1936-1956” and maintained the “,621” error (lower left, on a Mike Roberts postcard printed in 1992). Subsequently, that third version was itself replaced with a new plaque that shows (as the first two versions of his plaque did) his career years as “1936-1941” and “1945-1956” (reflecting the gap in his baseball career due to his military service) and corrects the “,621” to “.621” (lower right, on the current Scenic Art postcard).
It appears that Teddy Ballgame’s plaque has been changed at least twice. The original plaque that was displayed at his 1966 induction ceremony was subsequently replaced by a plaque bearing a slightly different likeness (on the left in the photo below). That replacement plaque was itself later replaced by a new plaque (on the right) with a drastically different likeness. As to why the changes were made, I note the following from Thomas Boswell in The Washington Post on August 9, 1977: “Ted Williams was so incensed by his nonlikeness that he demanded a new plaque.”
A picture of Williams posing (at his 1966 induction ceremony) with his original plaque can be seen accompanying an article on the Hall’s website.
Author’s question: Was a Hall of Fame postcard produced depicting the original 1966 Ted Williams plaque?
Musial’s original 1969 plaque was replaced by one with a slightly changed text, including the replacement of “SLUGGING PERCENTAGE 6 YEARS” with “AND WON SEVEN N.L. BATTING TITLES.”
Clemente’s original 1973 plaque was replaced in 2000 in order to reflect the traditional Latin American presentation of his full name (whereby his given last name is followed by his mother’s maiden name). Juan Marichal’s original plaque was replaced to make a similar change (see below). The original Clemente plaque is on display in the kids’ section of the Museum (in the original Hall of Fame library building) – as far as I know, it is the only one of the replaced plaques on public display anywhere (though the Hall’s website says the original Jackie Robinson plaque remains “a part of the Museum’s collections and will be used for educational purposes”).
Spahn’s original 1973 plaque was replaced by one showing a corrected career strikeout total of 2,583 in the next-to-last line of the text.
I’m curious as to the “why” on this one. Instead of a slight emendation to correct the erroneous reference on Roberts’s original 1976 plaque to his having led the league in shutouts twice (he actually led the league once), the replacement plaque bears a wholesale change to the text, including a new and mysterious reference to his having been “MAJOR LEAGUE PLAYER OF THE YEAR, 1952 AND 1955.” Assuming the award being referred to is The Sporting News Major League Player of the Year Award, the information on the replacement plaque is incorrect – Roberts did win that award in 1952, but Duke Snider won it in 1955 (Roberts did win The Sporting News Pitcher of the Year Award in 1952 and 1955).
Editor’s Note:Mr. James Roberts, the youngest son of the Hall of Fame pitcher, reached out to us to explain the reason for the plaque’s update:
“You say it is curious as to ‘why’ on Roberts. On the original it said ‘while usually playing for second division teams.’ He did not like that, he felt his teammates were being disparaged. He requested the change. Now you know why.
As with Clemente’s plaque (see above), Marichal’s original plaque was replaced to reflect the traditional Latin American presentation of his full name.
The original 1998 plaque for Davis was later replaced to correct the years he served as player manager in the last line of the text, from “1898, 1900 and 1901” to “1895, 1900 and 1901.” The replacement plaque has not been reproduced on a postcard yet – possibly because they still haven’t sold through the original July 1998 print run! Based on how many “Date of Printing July 1998” Davis postcards were available on the rack during my most recent visit to the Hall’s gift shop in October 2019, we may be many years away from a new printing of his postcard (which would presumably show the replacement plaque).
Fisk’s original 2000 plaque was replaced to change his number of games caught (in the second line of the text) from 2,229 to 2,226. (Thanks to Wayne McElreavy for pointing out the change in Fisk’s plaque.)
Hill’s original 2006 plaque was replaced to correct his first name: “JOSEPH” was changed to “JOHN.”
Sutter’s original 2006 plaque was replaced to correct a typographical error: in the sixth line of the text, “LEAD” was changed to “LED.”
Alomar’s original 2011 plaque was replaced by a new one with a slightly different likeness.
Santo’s original 2012 plaque was replaced by a new one with a slightly different likeness.
Bullet Rogan – possible future change
The 2019 Hall of Fame Almanac correctly lists Rogan’s full name as “Charles Wilber ‘Joe’ Rogan,” but, as of the time of this writing, his plaque (as well as the Hall of Fame’s website) shows his full name incorrectly as “Wilber Joe Rogan.” I’ve got my eye on this one…
As mentioned above, this list reflects only my personal, informal survey and is quite possibly incomplete — additional information from readers would be most welcome!
I first encountered Graig’s work when I ran across his painting “Henry” and just about died. The expression, the uniform, the color, the crowd, the musculature, the shadows, the…everything…was amazing to me. I had seen so many images of Hank Aaron in my life, but none had the hold on me that this one did.
I often wondered how amazing it would be if someday this image or others from Graig could be turned into baseball cards. Apparently I was not alone.
In late 2018 Topps contacted Graig and his agent about the concept of an “artist renditions” set to be released in limited print runs through the Topps website. By April 2019 the cards were a reality, with the first offering, Ty Cobb, selling 1549 copies.
“I had been aware of the business model they were working with, as I had followed their success with Topps Now and the Living Set. It was a little different than what I expected in terms of my first real baseball card project, but I was super excited to work with them in any sense – being a part of that lineage that goes back to my father’s childhood was super appealing to me.”
In case you missed it, Graig’s father was a card collector, but more on that much later.
“In a way, I liken it to comics where you have modern artists and writers handling these current issues of something like Batman, and them being in the same line with the Neal Adamses, Grant Morrisons, Frank Millers and even going as far back as Bob Kane and Bill Finger…it’s like a big family that you’re being asked to join.”
One question I had for Graig was who chose the players to be included in the set, Topps or Graig. This is something that interests me with nearly any baseball set…the hows and whos of arriving at a checklist.
“Topps was in charge of giving me the names of the players they wanted. They had the first 15 or so planned, both with the specific players and when they were to be released. For the last five, they did ask for a little input, but I don’t think that my suggestions were a huge influence in the decision making process. And I don’t mean that in a bad way, I just think that the players I might have wanted to paint may not have lined up with the players who they thought would be popular among their large fan base.”
While I would have loved to hear that Graig had total license over the project, I have to say Topps did a phenomenal job in selecting the players for Graig to paint. I can also imagine the good people at Topps being a bit irked had Graig decided to go with Lipman Pike or Hans Lobert over, say, Tom Seaver or Ted Williams.
The result is an almost obscenely stacked roster of top shelf baseball talent, so much so that you have to think hard to come up with who didn’t make the cut. (Two Yankees legends absent due to licensing issues were Mickey Mantle and Joe DiMaggio.)
Cards #19&20 in the @Topps 20-card @GraigKreindler mini-set. So cool that Graig’s #20 was my boyhood idol and favorite #20, Lou Brock! What a cool way to complete the set!Thanks for sharing your amazing talent, Graig! You’re a first-ballot Hall of Famer in my book! @baseballhallpic.twitter.com/iKtLiyubM1
While Graig did not develop the checklist, he did choose the photographs that the card images were based on, though Topps provided some input likely aimed at increasing marketability.
“They made it clear to me that each player should be depicted with the team he’s best known for, and preferably on the youngish side of the coin. Combining that with the pool of images that Topps has the license to use via Getty, I was able to find at least 7-8 photographs of each player that I thought would be worthy.”
If you read that last sentence and are thinking PARALLELS, you’re not alone! Graig? Topps? What do you say?
One question I had for Graig was whether choosing an image for a large painting was very different from choosing an image for a baseball card.
“The thought was that if I did an action shot or a stadium panoramic [as many of Graig’s paintings are], it was going to be shrunk down to card size, so a lot of detail would be lost. Rather than risking that, I felt that portraits would be the safest bet. Plus, since I’m sure a lot of the images of these guys are in black and white, having a color representation of their face (and some jersey stuff when applicable) was the most important aspect of the artist rendition in terms of ‘connecting’ with people.”
Time considerations were a factor for Graig also since the project called for Topps to issue a new card roughly every two weeks. This too pointed toward portraits.
Among the portraits I wondered if Graig had any favorites, whether as an artist, a collector, or a fan. Were there any paintings where Graig said, “Wow, I really did a great job with that one!”
“There are certain aspects of each portrait that I really think I nailed. I mean, obviously, I always want the next painting to be the best one, but sometimes there are little spots of each that can shine or stick out to me in some way. And those parts aren’t necessarily visible to others (or even tangible for that matter) but they’re there.”
“As an example, the last painting I did of Lou Brock, the relationship between the bright, warm red of his cap and the cool green and blue hues of the dugout wall was incredibly pleasing. It was something I tried to push a lot in the original painting, playing off of color complements and optical blending. I’m not even sure if that stuff made its way into the final card itself, as a lot of nuance can get lost in the reproduction process, but I was very pleased with how the painting itself came out.”
Look again at that Brock card now. There’s nothing lazy, nothing wasted. Even the parts that immediately hit our eye as “white jersey” or “red cap” aren’t. Anywhere you look on any of these cards there is a glow, texture, and even a personality that emerges.
I wanted to know where this all came from, not just the Artist Renditions set but everything. Did Graig collect cards as a kid? Who were his favorite players? What were his favorite sets? I tried to go light since I knew Graig was preparing for a major exhibition of over 200 of his paintings in Kansas City as part of the Centennial Celebration organized by the Negro Leagues Baseball Museum.
“I did indeed collect as a kid. With my father being a somewhat avid collector in the ’50s up until a bit after I was born (1980), I don’t think my brother or I had a choice NOT to have an interest in baseball cards.”
Okay, I know you’re thinking what I was thinking! Well, here’s the bad news…
“Like most of the people of his generation, his mother threw out the majority of his collection when she deemed him ‘too old’ for it.”
Shoot! But wait, the story’s not quite over…
“He was able to save some of his favorites. Included in that batch were mostly Yankees and a smattering of Giants and Dodgers. He managed to keep his ’51 Bowman Mantle, which always had a certain mystique about it, what with it being the rookie card of his favorite player and all. And let’s face it, it was expensive, which to me, as a kid, was extra cool. His example wasn’t even in decent shape or anything, but it still had quite an aura – so even then I was aware that it had some serious sentimental value.”
On one hand Graig’s father’s collection influenced Graig as a collector.
“Through my father’s stories, I came to ‘know’ Mantle and his teammates in a way that seemed more real to me than the feelings I had with the group of the then-current Yankees (Mattingly, Winfield, Randolph, etc). So while I was getting my first packs of baseball cards (’87 Topps – still LOVE that set), I was even more excited about picking up older cards when I could.”
“I remember being at one of the Gloria Rothstein Westchester shows in the late ’80s and my father paying $4 to get me a 1964 Topps Bobby Richardson. I held it in my hands and was truly amazed. My friends couldn’t understand why I had any interest in a guy they’d never heard of, but there I was, not being able to shut up about that ’61 Yankees infield.”
Interestingly, Graig’s father’s collection also influenced Graig as an artist.
“When I was younger, it’s fair to say that I was inspired to draw ballplayers because of my father’s baseball cards. Looking at it now, I’m sure that seeing those early Bowman and Topps issues with the illustrations must have had some kind of impact on my psyche – something along the lines of, ‘Hey, somebody actually drew and painted these things – they’re not photographs, they’re made by humans. Maybe that’s something I can do.’ I don’t remember actually having any epiphany like that, but I’ve gotta imagine that that is how what I do now all germinated.”
It was also around that time that Graig encountered the work of more contemporary baseball artists.
“In the late ’80s and early ’90s, I of course fell in love with the likes of Dick Perez and Christopher Paluso. And both for different reasons. I loved how painterly and expressive Perez was with his colors. And the sleak photorealism of Christopher’s work appealed to me on a craftsman’s level. To this day, I can still remember seeing their stuff for the first time.”
I worked with Graig to track down the first Christopher Paluso piece he remembers seeing, this lithograph of Joe Sewell. (Image source from Heritage Auctions.)
Tracking down Graig’s first recollections of Dick Perez’s work was a foggier matter. He vaguely recalled the 1986 Donruss Diamond Kings subset but was unsure of the player so I’ll just go with my three favorites!
Not wanting to leave anything out I ended my interview with Graig by asking him a question I was really happy I remembered to ask.
“What’s one question you wish I asked but didn’t? And what’s the answer?”
Graig’s answer was a long one that has little to do with baseball cards but is no less essential to the overall story of the cards that inspired this post.
“That’s a tough one! The question, ‘Who is your biggest art influence?’ is always one of my favorites. And that’s mainly because I like giving the man his due. I first met Peter Fiore in 1999 as an undergrad student at the School of Visual Arts in Manhattan. I had enrolled in his class – “Painting the Light” I think it was called – not quite knowing what to expect. The description mentioned something about learning how to paint your subjects in believable space by paying attention to light and color, or something to that effect. And the idea appealed to me greatly.”
“Little did I know that that fall, I made the acquaintance of the artist who would forever change the way I thought about painting. Up until then, I was strictly a renderer. I wanted whatever I painted to be realistic to the point where it blended between realism and photorealism. And to me, that meant being able to study edges, values and colors as they appear through photography.”
“Through Peter, I learned that photography was a starting off point, that the world around me had much more to show. I learned how to work with color, and to work with it purposefully. I learned how light shapes the world around me. And this didn’t happen in just that semester. I took a few classes with him while I was in school. After I graduated, we became good friends, and I still consider him one of my favorite people on this planet. I’m always learning from him, be it about painting or light or life, and I can’t think of any teacher or friend who’s influenced my artistic journey as much as he has. For anybody interested, you can see his beautiful landscapes at peterfiore.com.”
Look at Graig’s work again and you can see this. Every detail is there, but there is something more. The players he paints are at the same time lifelike and larger than life. There is a radiance that differs from how our eyes might have seen these men but perfectly matches how our minds see them.
Normally such images are confined to galleries or perhaps just our imaginations, but thanks to Graig and Topps they can also have a place in our collections.
Kids all over Seattle shouted “hot diggity dog” when they discovered that Seattle Rainiers wiener cards were back in 1963. Garbage can raiding and dumpster diving would once again be the norm in alleys across the city. Kids “dogged” their mothers to not “wienie out” and buy the cheap franks. Frankly, they would only settle for the “card-carrying” brand: “Milwaukee Sausage Company.”
For those of you who were able to “digest” my previous “all-meat” offerings, you remember that Hygrade and Henry House were the companies who included cards in wiener packages. If Seattle was the norm, minor league teams must have frequently changed official hot dog providers. Looking through Rainiers programs from the late 1940s to mid-1960s, I count six different companies who claimed top dog status at Sicks’ Seattle Stadium.
As a side note, I see an omen in the fact that “Milwaukee” was the name of the company. Of course, the Wisconsin city would soon play a part in dashing the Northwest’s claim of big-league status. I will now remove my tin foil hat made of discarded hot dog wrappers.
The Milwaukee Sausage cards measure 4-1/4” square, feature a larger photo, and have less biographical information than the previous two iterations. A total of 11 cards comprise the set. As with the other wiener brands’ cards, the black and white photos are the same as those issued on the popcorn cards for that season.
To illustrate the rarity of finding cards today, a Paul Smith card-in fair condition-is currently offered on eBay for $1,899. The seller does allow for installment payments-if you are salivating at prospect of owning one of these “puppies.”
In 1963, the Rainiers were affiliated with Boston. The eleven cards in the set include a few players who saw limited action in Boston. The biggest name-by far-is the manager, legendary Red Sox hurler Mel Parnell.
Pete Smith sipped some coffee at Fenway in 1962 and 1963. He started in his first game at Detroit on 9/13/62. He lasted 3 and 2/3 innings giving up 8 runs, all earned.
Although I couldn’t find Milwaukee Sausage cards for Pete Jernigan, Bill Spanswick and Archie Skeen, each made it onto a Topps Rookie Stars cards. Spanswick has the distinction of being the other guy on Tony Conigliaro’s rookie card. By the way, Skeen never played in a major league game.
Other featured players with big league experience with other organizations include coach Elmer Singleton, Billy Harrell (13 games with Sox), George Spencer, and the aforementioned Paul Smith.
Well, after force feeding you more hot dogs than Joey Chestnut eats on Independence Day, it’s time to put away the mustard and sauerkraut. Hopefully, you have come to realize that America is a better place for having had a photo of Mel Parnell enclosed in a package of wieners.
I am currently curating an exhibition at Queens College, in Flushing, which will be on display throughout February and March. While I don’t yet have a title for my little experiment (the show marks the first time I have ever done such a thing), the theme of the event centers on the history of baseball in New York City, from its inception to the present day, told through art and artifacts. I am indebted to a number of individuals who are either loaning me pieces from their private collections, or are submitting original work to help me craft the story I am trying to tell.
Of course, baseball cards are a part of the event. I have long known that I wanted Jesse Loving, creator of the beautiful Ars Longa cards, to be a part of this. Although he had gone on a bit of a hiatus, he kindly agreed to fire up the engines again and is providing me with roughly 80 cards that cover the game in the Big Apple from William Wheaton and Doc Adams, to Rube Marquard and Casey Stengel, a span of roughly eighty years. I am giddy at the idea of creating a wall of his lush, vibrant images, and eagerly await the arrival of the package.
With one or two exceptions, I was intending for Jesse’s work to be the only cards in the show. There are lots of ways to tell the history of the game that have nothing to do with our favorite hobby and I wanted the beautiful creations of Ars Longa to exist in a vacuum. Then, I learned last week that one of the individuals who was contributing some truly exciting pieces from the 19th Century had decided to withdraw from the exhibition. I had to come up with something to fill the holes on the walls of the gallery left by his exit.
I am not a fine artist, nor do I have a particularly extensive collection of artifacts and memorabilia laying about. So, what to do? While the pieces I lost were from the 19th Century, I actually have some of Jesse’s cards, as well as uniforms and equipment loaned to me by Eric Miklich, that are already assisting me in telling that part of the story. I also have quite a few items that represent the Golden Age of baseball in New York, the halcyon days of Willie, Mickey, and the Duke. What the show was really lacking was a nod to the more modern incarnation of the game. The best way for me to benefit my show, and fill the unexpected void, was to focus on that gap.
That’s when it struck me that, while I don’t really have a lot of personal memorabilia at hand, there was a way I could tackle my problem at very little expense. Any exhibit on the history of New York City, (especially one taking place in the most ethnically diverse borough, on a campus that hears over 110 languages spoken every single day) needs to explore the beautiful multiculturalism that makes this City what it is. That was when I came up with my plan, a work I am calling, “If They Can Make it There.”
In the long history of professional baseball, there have been men who were born in over fifty countries besides the United States that have made the incredible and unlikely journey to the Major Leagues. While the Dominican Republic and Venezuela have provided an outsized portion of these ballplayers, countries as far-flung as Belize, the Czech Republic and Australia have also chipped in. Many of those foreign-born athletes got their professional starts in New York City. In fact, twenty-one different countries, not counting the U.S. and its territories, have generated players who made their Major League debut with the Yankees or the Mets. My plan to fill in my unexpected vacancy is to honor these men, and what better way to do it than through the beauty of baseball cards.
I am putting together a collection of these itinerant dreamers which will feature each of them in the uniform of either the Yankees or the Mets. Why just those teams and not also the Giants, Dodgers, and the multiple early squads? Two reasons. The first I already mentioned. The goal was to try and examine the impact of the game in the present day. By focusing on just the Yankees and Mets, it reinforces that point by design. The other reason is economics. Now, I can complete this set, mostly, with inexpensive cards from the last thirty or forty years.
Beyond the player appearing in a New York uniform, I decided to lay down a few other guidelines to make this creation have a little more form, and not just be a random mishmash of cards thrown up on the wall. First of all, no reprints. While the exhibition will feature some reproductions (uniforms, mostly), I have been trying to limit their influence all along. No need to further water down this project by including “fake” versions of the cards. Besides, very few of the cards I needed were particularly valuable, so why resort to knock-offs? I also wanted, if at all possible, for the card to have been issued at the time the player was employed by that team.
This is not always feasible. A number of players who fit this criteria, including cups of coffee like Jim Cockman (born in Canada) and Harry Kingman (China), both of whom made brief appearances with the Yankees years before Jacob Ruppert signed Babe Ruth, never had any card issued, nonetheless one of them wearing the proper uniform. There are even holes for more durable players from recent years, like Stan Javier (Dominican Republic), who enjoyed a seventeen-year career that ended in 2001. During his first big league season, in 1984, he appeared in seven early-season games for the Yankees before being shipped back to Nashville and Columbus for more seasoning. He would later appear on the roster of seven other major league teams, but he never played another game for the Yankees. The Trading Card Database claims he has 289 cards out there, but none of them were issued in 1984 or ’85 featuring Javier in pinstripes.
There are missing pieces of the puzzle for the Mets, too. Utility man José Moreno (Dominican Republic) and shortstop Brian Ostrosser (Canada) never got a card of themselves in blue and orange, at least not while actively playing for the team. I have decided that in their cases, as well as that of Javier, to bend the rules and use one of the cards that came with the sets issued by the NYC-based appliance retailer, The Wiz, in the early nineties. While most of the hundreds who appear in this ubiquitous set were no longer active members of the roster at the time the cards were issued, at least they are dressed properly. I am also considering getting an Aceo Art card of Frank Estrada (Mexico), whose two lifetime plate appearances were insufficient to ever make Topps take notice.
Most of the collection, though, will be the real deal. There are cards from almost all of the big name publishers of the modern era, including Topps, Bowman, Fleer and Donruss. There will be plenty of Junk Era wax, as well as the slick chromes that have come to represent the current state of the industry. The bulk of the exhibit will include roughly 130 cards (purchased via COMC or already in my collection) that cost me a combined total of $45.76. Most exciting to me, however, is that there will be a small handful of pre-war cards thrown in there, too. I decided to reward my clever thriftiness by investing in some slightly pricier goodies.
I’ve already picked up a 1934 Goudey Arndt Jorgens (Norway), a 1934-36 Diamond Stars George Selkirk (Canada), and a 1911 T205 Jimmy Austin (United Kingdom). I also have my eye on two T206s, a Jack Quinn (Slovakia) and a Russ Ford (Canada). Assuming the Ebay gods favor me and I get the latter two, they will represent the first cards I’ve owned from that hobby-defining set. These bits of old paper not only give the exhibit a little more gravitas as a whole, but when it’s all over I will have some gems to add to my personal collection.
The exhibit also gives me a chance to show off a little bit of my beloved collection of Cubans who made the leap to the majors. There have been eight Cubans who began their major league career as Yankees, most recently Amauri Sanit in 2011. The Mets have birthed the careers of four citizens of the forbidden island, the most notable of which was Rey Ordoñez. While Ordoñez was famously weak at the plate, rarely hitting more than a single home run in a season, he was a defensive mastermind at shortstop in the late ‘90s and early ‘00s, when the Amazin’s had one of the most exciting infields in baseball history. His partner in the middle of the diamond, Edgardo Alfonzo (Venezuela), will also be featured.
The players mentioned here really are just the tip of the iceberg. The exhibit will also include some of the brightest stars of today, including Gleyber Torres (Venezuela) and Miguel Andujar (Dominican Republic). Ron Gardenhire (Germany) makes an appearance, as do the Mastuis (Japan), Hideki and the less-successful Kazuo. There is even one Hall of Famer who is featured, buried in the dozens of other more obscure names. The quickest among you will figure out who that is almost instantly. The rest of you, well, I guess you’ll just have to stop by the college and find out. My currently unnamed exhibition opens February 18. I hope to see you there.
We’ve had a handful of posts about Exhibit Cards here before but haven’t had a post specifically dedicated to them yet.* This is not going to be that post except to note that Exhibits are kind of wonderful because they represent a different method of card collecting and distribution and a different direction that the hobby could’ve gone.
Instead of packs of cards and the association with food and gum products, Exhibits are clearly photo products and place baseball players in the same ecosystem as Hollywood stars, cowboys, pinups, etc. of pop idols that fans would want to collect and display. Instead of products like photo packs you purchased at concession stands in stadiums, you bought your Exhibits from a vending machine in an arcade or store and you got what you got.
By the time I was a kid the only thing left being sold like this was mini plastic football helmets. It amazes me that there was an era when you could get 3.5″×5″ photo cards instead. Anyway while cards of Cary Grant, Humphrey Bogart, Judy Garland, Clark Gable, and Jimmy Stewart are lots of fun, this is a baseball card blog so I’m only going to write about the cards of baseball-related stars.
A couple springs ago I was coaching Little League and had a kindergartner named Hugh on my team. Did I put him at first base? It would’ve been irresponsible and negligent not to.
Anyway these Exhibits appear to date to the 1940s and so represent this pair at the height of their popularity. I especially like that Costello’s salutation is “Yours for fun.”
There are a lot of Cowboy Exhibit cards but the only one in my batch was Gene Autry. I should probably have scheduled this post for Christmas to coincide with Here Comes Santa Claus and Rudolph the Red Nosed Reindeer, but things were busy and it was Autry’s involvement first with the Hollywood Stars and then as the primary owner of the Los AngelesCalifornia Anaheim Angels which makes him relevant here.
It’s funny, for someone like me who learned about the game in the 1980s, Autry should’ve been someone I knew first as a team owner. I didn’t though. He was always the singing cowboy and showman first for me and I have to remind myself that he was involved with baseball for much longer than he was recording.
Some of this though is probably because by the time I was learning about baseball the only owners I was truly aware of were the ones like Marge Schott and George Steinbrenner who were in the news for all the wrong reasons. Autry with his hands-off nature is exactly the kind of owner that I can see Angels fans loving and everyone else not knowing anything about.
The last baseball-related Exhibit has turned out to be one of my favorites of the batch. Yes I like her even over Abbott and Costello. Laraine Day is not exactly a household name as a movie star but the tabloid scandal of her marriage to Leo Durocher and her subsequent involvement with the New York Giants makes her card something I’m considering moving out of the non-sport/non-baseball album and into my Giants album.
With the festive frivolity of the holiday season upon us, I bring you a post even more frivolous than my usual lightweight offerings. Before reading, I suggest adding a pint of rum to the eggnog-which will ensure that you forget that this blog is connected to an august body like SABR. So, toss on another yule (Blackwell) log on the fire, grab a plate of cookies (Rojas and Lavagetto) and contemplate this ancient carol (Clay) within your decked-out halls (Jimmy and Tom).
A Partridge in a Pear Tree: Jay Partridge was the starting second baseman for Brooklyn in 1927. I could not locate a card from the time, but an auction site did have a small newsprint photo described as a panel. Fortunately, Mr. Partridge has a card in the 1990 Target Dodgers set. If you insist on a card issued while the player was active, this 1977 TCMA of Glenn Partridge falls into that “family.”
Apparently, no players with the surname Pear or Tree ever appeared in a professional game. But Matt Pare shows up on the 2017 San Jose Giants. I had to go the minor league route as well to find a “tree.” Mitch Trees was a catcher for the Billings Mustangs in 2017.
Two Turtle Doves: Spokane Indians assistant coach “Turtle” Thomas has a 2017 card, but I’m going with 1909-11 T206 “Scoops” Carry of the Memphis Turtles. As for Doves, Dennis Dove has several prospect cards, including this 2003 Upper Deck Prospect Premiere. However, this 1909-11 American Caramel card of “Buster” Brown on the Boston Doves wins out. After all, Buster lived in a shoe, and his dog Tike lived in there too.
Three French Hens: For this one, I must go with Jeff Katz’s acquaintance Jim French. The diminutive backstop toiled for the Senators and Rangers. Dave “Hendu” Henderson was the best hen option, outside of any Toledo Mud Hen.
Four Calling Birds: This 1982 Larry Fritsch card of Keith Call on the Madison Muskies certainly “answers the call” for this word. Although, Callix Crabbe is in contention based solely on the awesomeness of his name. For the bird, I heard the call of the “royal parrotfinch” and went with longtime Royals pitcher Doug Bird.
Five Golden Rings: It would be a cardinal sin if I didn’t go with the Cardinals’ Roy Golden on this 1912 T-207 “brown background” card. Phillies pitcher, Jimmy Ring, gets the nod with this 1921 National Carmel issue.
Six Geese a Laying: Since Christmas is coming and the goose is getting fat, Rich Gossage would have been a logical choice. But I can’t pass up making Seattle Pilot Greg Goossen my fowl choice. His 1970 card is so amazing that all I can do is “gander” at it. This 2019 card of Jose Layer on the Augusta Greenjackets is the best fit that I could lay my hands on.
Seven Swans a Swimming: After answering a personal ad in a weekly newspaper, I met my future wife for a drink at the Mirabeau Room atop the SeaFirst Building in Seattle on June 9, 1990. That evening, Russ Swan of the Mariners carried a no-hitter into the 8th inning against Detroit. Viewing this mound mastery sealed our lifelong bond, for which the “swan song” is yet to be sung.
I must “take a dive” into the Classic Best 1991 minor league set to find someone who fits “swimmingly.” I ended up somewhere near Salinas and found the Spurs’ Greg Swim.
Eight Maids a Milking: Since no Maids are found on “Baseball Reference” and the players named Maiden don’t have cards, I was “made” to go with Hector Made and his 2004 Bowman Heritage.
This may qualify as “milking” it, but the best fit I could find was the all-time winningest general manager in Seattle Pilots history, Marvin Milkes. This DYI card uses a Pilots team issued photo, which shows off the high-quality wood paneling in Marvin’s Sicks’ Stadium office.
Nine Ladies Dancing: The 1887-90, N172 “Old Judge” card of “Lady” Baldwin and the 1996 Fritsch AAGPBL card of Faye Dancer are a perfect fit.
Ten Lords a Leaping: This wonderful 1911 T205 Bris Lord card coupled with a 1986 Dave Leeper doesn’t require much of a leap to work.
Eleven Pipers Piping: Former Negro Leaguer Piper Davis has a beautiful 1953 Mother’s Cookies card on the PCL Oakland Oaks. In fact, the card is “piping” hot.
Twelve Drummers Drumming: You can’t get much better than this 1911 Obak T212 card of Drummond Brown on the PCL Vernon Tigers. Or, you could “bang the drum slowly” with this specialty card of Brian Pearson (Robert De Niro) from the movie “Bang the Drum Slowly.”
I realize that Santa will fill my stocking with coal and “Krampus” will punish me for having written this, but the spirit of the season will endure. I wish you and all those you hold dear a wonderful holiday season and a prosperous new year.
A recent post by Jenny Miller about the Topps Bunt app got me thinking about digital cards. I’ve long wanted to see such a post on this blog but I suspect that our membership base is skeptical at best* when it comes to cards that only live in an app.
*And dismissive at worst.
I get it. This is a cardboard hobby and the idea of something existing only digitally doesn’t feel “real.” At the same time, the experience Jenny describes is closer to the pure ideal of the hobby than much of what’s going on with card releases. She doesn’t have to spend any money. She’s able to look at her collection and acquire new cards anywhere and anytime she has battery life on her phone. There’s no concern about finding a card shop or hoping that the card aisle hasn’t been raided by pack seekers. It sounds like a lot more fun than most of the bellyaching I see about the current state of the hobby on Twitter.
What really got me thinking though were the images Jenny used in her blog post. I’m online-averse in all my media. I prefer CDs/DVDs/BluRay to streaming. I prefer books to Kindle. As interesting as the Topps Bunt app seems it’s just not something that appeals to me…unless I can get the cards out of the app. As much as I’m a luddite, my concerns are actually more about being locked in to a corporate ecosystem and the fact that companies have a bad track record with regard to maintaining these things.
I just don’t trust these apps to last and while I don’t need ALL my cards to last another 20, 30, 40 years it would be nice to know that there’s a possibility of it. Jenny didn’t get her images out of the app (she confirmed with me that she pulled them from Topps’s Twitter feed) but she could have.
My phone (an iPhone8) produces screenshots that are 750×1334 pixels. This translates into 2.5″×4.45″ at 300 DPI. Even if you have to crop off a little of the image to get just the card this is enough data for good-quality printing. Yeah. There’s no reason why you couldn’t roll your own Bunt cards.
As much as it’s weird to me how the Bunt app cards show evidence of wanting to pretend to be physical items with their wrinkles, halftone rosettes, “autographs,” and peeling effects, they are actually something that can be taken into the real world if you wanted to.
Costco wallet-sized prints are 59¢ for four. Even if you didn’t print these, just being able to save them outside of the app gives you a level of flexibility and future-protection that alleviates a lot of my concerns. It also reminds me of a number of other card-related things we’ve covered on this blog where the original objects contain information that is no longer accessible for most collectors.
One of the best things about this hobby is how it’s a near perfect usage of technology—in this case print technology. Cards are the right size to hold and store. They’re durable enough to handle without falling apart immediately. And they don’t require any supplementary technology.
I very much love cards that push the into other technological realms though. They just require some help to be fully enjoyed if the other technology does not age as well as ink on cardboard.
For example, Auravision and Baseball Talk are both wonderful objects but the audio portions of them are tough to access. Record players may be making a comeback but they’ve not been standard in most homes for a long time. Plus you have to punch a hole in the middle of that nice Auravision photo to listen to anything. Similarly, Baseball Talk requires a special player which, even if you have one, is not guaranteed to work anymore since it’s a cheap child’s toy.
But the internet is a wonderful place. The Auravision recordings are up on YouTube. As are the Baseball Talk ones. This means I can have my Baseball Talk cards in my album and pull up the corresponding recordings on the web. Yes there’s always that fear that the recordings will disappear from YouTube but they’re out there, but there are tools out there that will download the audio from a YouTube video and convert it to MP3.
Another thing that YouTube has preserved is things like 2000 Upper Deck Power Deck. Sure you can just shove a baseball card sized mini CD-ROM into a binder page but reading the data is near impossible now. Most computers don’t have optical media trays and the ones that do are usually slot-loading ones that can’t accept non-standard sized or shaped media. So your only option to see what’s on the disc is to go to YouTube and hope it’s been uploaded.
I’ve actually been engaged in my own form of converting a somewhat-inaccesable product into one with digital footprints. I don’t have the toy to view my Viewmaster discs so I’m only able to see them by holding a disc up to light. This isn’t ideal. Scanning them into wiggle gifs produces a better way of seeing them.
I’m also going a step further and scanning the booklet so I can convert each image into a 2.5″ square card with a still image in the front and the booklet on the back. No it’s not the Viewmaster experience but it take the photos into a form that’s more accessible.
Do I expect Bunt to be around in a decade? No way. But I do expect JPGs of the cards to be available someplace. Maybe not all of them, but someone next decade will have an archive of a bunch of them. And I have my fingers crossed that a few cards will even be printed out the way I’m printing out my Viewmaster photos.
If I said that for under $20 you could purchase a small set from 1953 which was one-third Hall of Famers and included a bunch of other big names from the time, I’d expect to be met with skepticism. Cards from 1953 aren’t generally cheap so a set like this is bound to come with a catch.
*This is my mom’s cue to pull one out of storage even though she’s been culling almost all of my childhood stuff.
Just handling the paper envelopes and holding the discs in my hand evokes all kinds of childhood memories. Pulling out the discs, studying the text to see who’s on it, and holding it up to the light to get a glimpse of the images is the same kind of thing I did when I was 6—only my discs were Disney tales or something and not baseball heroes.
Now I may not have a Viewmaster, but I have something better. Since these discs are really just 14 different Kodachrome slides, dropping them into my photo scanner allows me to get an even better view of the photos. So that’s what I did.
I also went ahead and created wiggle “3D” gifs which alternate between the left and right images.* They’re not really 3D but our brains interpret them with depth and they’re a great way to get a flavor of the Viewmaster experience.
*3D photography involves photographing a subject at the same time with two different cameras that are a couple inches apart. This simulates the perspective that each of our eyes have. A 3D viewer then forces each eye to look at a different image and our brains combine the result into a 3D image.
The first disc has two Hall of Famers in Rizzuto and Berra, one should-be Hall of Famer in Miñoso, Al Rosen the year he won the MVP award, and some very good players in Jackie Jensen and Preacher Roe. Even Whitey Lockman had been an All Star in 1952.
I enjoy the variety of poses with Roe’s working the best in 3D of all the images. There’s also a lot of wonderful detail in the background of the Lockman image.
Each disc also comes with a 4-panel fold-out booklet which has a short bio of each player, the last two years of his stats (plus his regular season and World Series totals), and a facsimile signature. Since the full-fold-out is too long for my scanner, I just folded over one panel and scanned the three visible ones.
I really like the booklets. Clean and crisp typesetting with the box around them and a willingness to let the signature overlap the text like in Jensen’s panel. I’m sure I could have found these even cheaper as just the discs but it wouldn’t have been worth the savings.
Disc two is stacked. Four Hall of Famers in Mize, Lemon, Schoendienst, and Irvin plus the 1952 American League MVP in Bobby Shantz. Ferris Fain and Sid Gordon weren’t slouches either.
Aside from the player quality in this disc, the photos capture a couple of great uniforms of teams that no longer exist. Shantz is in his Philadelphia A’s uniform and Gordon is in his Boston Braves uniform.
Looking at the uniforms and seeing the color stirrups makes me realize how vibrant these must have been in 1953. Bowman had only just released the first set of baseball cards using color photographs. These go a step further and are color slides that literally pop off the film.
Not much more to add about the booklets except to note that while Gordon is depicted with Boston the move to Milwaukee had already happened when these were printed.
The last disc is a bit lighter on star power since Campy is the only Hall of Famer but for me it makes up for it by having two Giants legends in Maglie and Thomson.* Vic Wertz is another big name, Woodling was one of those annoying Yankees guys who always came through in the World Series, and Parnell and Hatton were both All Stars.
*Having four Giants out of the 21 players depicted is something I appreciate very much.
I really like Campanella’s pose with the mask in the foreground. Wertz meanwhile is the third image of a team that’s about to cease existing since 1953 was the last year before the Browns moved to Baltimore.
The stadium background in these photos also demonstrate how much flash was used to take these pictures. The photos are all somewhat moody with darkish skies. This helps them pop a lot through the contrast of the light uniforms and the dark backgrounds while also giving them a look that’s different than the typical baseball card image. This look only started to show up on Topps cards in earnest around 1985.*
*Something I covered a bit on my own blog. In short, in the 1980s Topps started to underexpose the background of the portrait and use flash to produce more contrast between the subject and his background. Many 1985 and 1986 Topps cards feature dark skies.
One last look at the booklets and my only comment is that I’m relieved to see that Bobby Thomson’s home run is mentioned.
Are these Cards™? No. But they’re card adjacent and fit in binder pages so I’m counting them. I’m also planning on printing the photos out as 2.5″ square pieces with the relevant back information from the booklets so I can enjoy the images without having to hold the disc up to the light. Who am I kidding, holding the discs is the best part anyway.
Name, Team, Position. Those are the three most standard pieces of information conveyed on the obverse of a baseball card. Of the three, position is the one that is most often left out. While it is certainly isn’t hard to find examples of cards not bearing the name or team on the frontside, position is the only piece of this trio that feels kind of optional. Player positions were included on many of the earliest cards sets ever issued and remained a staple of card design until the fabled T206 set – which listed a player’s name and team home city only – seemed to put the designation out of style. Over the next few decades, many of the most iconic sets – Goudey, Cracker Jack, Leaf – ignored the position as an element of design. Bowman hit the scene in 1948 and went even more minimalist, rarely going so far as to even include the player’s name on the front of the card.
But then Topps took over, aside from their 1951 and 1952 issues, included a position on the front of each of their sets until 1972, and again for each set between 1973 and 1986. The indicator vanished between 1987 and 1990 and was an on-and-off feature until 2014, when it returned for seven straight sets (including 2020) – Topps’ longest run of position-indicating since the 1980s. Donruss included a position on every one of its designs until 1998 and Fleer did the same, using the indicator on every flagship set the brand issued. Upper Deck ignored the position on just two of its flagship sets (1992 and 2004).
This is not information that most collectors would have at the ready. Most collectors probably take the position bug for granted. I know I usually do. But being so ubiquitous (even in its absence), an unusual position indicator can make for a pretty memorable card. Herb Washington’s 1975 “Pinch Run.” is probably the most famous of these. But there are others that I recall standing out to me as a kid – Pete Rose cards where he was listed an “MGR-1B” seemed other-worldly, the 1990 Score John Olerud listed him as an “OF-P” (all while shown playing first base) made him seem like some kind of top-secret government project, and the 1989 Topps Kirk Gibson All Star that listed him as a “PH” was as jarring as it was confusing (this was done, I assume to give the NL team a DH player without using the league-inappropriate term).
A particular player’s position listing can also convey some emotion. Robin Yount listed as a shortstop or George Brett as a third baseman make them seem as though they’ll be young forever. But finding Reggie Jackson or Henry Aaron or Dave Winfield listed as a DH will bring a note of sadness that the end is near.
But of all the weird positional quirks that have happened over the years, there is nothing so fascinating to me as what happened with Paul Molitor in 1991. That was the year the versatile Brewer was listed at FIVE different positions on various cards and appeared with SEVEN different position indicators. This is, I believe, the greatest positional variety for a player in a single year ever (ignoring THIS, of course). So what happened here?
Well, Paul Molitor had historically been a trick player to pin down position-wise. He came up as a shortstop, getting his first change in the bigs when Robin Yount left the Brewers during Spring Training 1978. He only played 33 games at short that season, but it was enough to have him listed as a pure SS on his 1979 card. He played 10 games at short in 1979 and 12 in 1980, but maintained a dual listed as an “SS-2B” on Topps 1980 and 1981 issues. After spending all of 1981 in the outfield, Topps gave him the rare “2B-SS-OF” listing on his 1982 card. Molly moved to third base in 1982, and played there primarily for most of the next five years. Topps reacted in kind and listed his as either a 3B or 3B/DH through the end of the decade.
Donruss and Fleer, entering the market in 1981, both listed him as a 2B in their debut sets. Fleer gave him a pure (and accurate) OF tag in 1982, whereas Donruss went with the very broad “OF/IF” brand. Both brands followed suit with Topps and used 3B and DH marks exclusively through 1990. Upper Deck and Score did the same.
But Molitor had returned to his utility player roots by the late 1980s. He appeared in 19 games at second base in 1987 and 16 in 1989. Late in 1989, regular second-sacker Jim Gantner suffered a devastating knee injury on a wipe-out slide by the Yankees Marcus Lawton and Molitor took over regular duty at the position until Gantner was able to return mid-way through the 1990 season. Molitor, who suffered a number of injuries of his own that season, ended up playing 60 games at second base in ‘90, 37 at first base (the first time he’d manned that spot), and a handful at third and as a DH. Gantner ended the season as the regular second baseman and Molitor at prime man at first. After the season, the Brewers traded Dave Parker, who had been an All Star for them in 1990, opening the door for the now-34 year old Molitor to become the team’s regular DH for the first time.
So, the long-time third baseman who had been playing second but was also being used at first, where he was now expected to see more time when he wasn’t DHing. Got all that? Card makers sure did.
By my count, Molitor appeared on 21 different base cards in 1991 (I’m ignoring sets like Topps Micro and OPC here that merely reproduce other sets). All but Classic listed a position on their cards. He was most commonly listed at 3B, a dubious claim considering he’d only played two games there in 1990. But strong is the power of tradition. Topps listed him there, using that mark on the Bowman, Stadium Club, and OPC Premium sets as well. Fleer also considered him a 3B, as they had at least in part since 1983. Even Score listed him at the position, despite taking the rather bold stance of being the only card maker to declare him a pure DH on a 1980s issue (1988). Those two games in ’90 got a lot of mileage, I guess.
Five cards listed him at 1B, a nice compromise between his audition there in 1990 and his projected role in 1991. Magazine cards were fond of this mark, as Baseball Cards Magazine, Sports Collectors Digest, and Sports Illustrated for Kids all used it on their in-mag cards, as did Donruss and (curiously) Fleer Ultra, which ran against the flagship’s opinion that Molitor was still a 3B.
Three cards gave him a generic IF designation: two Brewers-issued sets (which used the frustrating device of considering anyone who played in the infield an IF) and the Score Superstars stand-alone set, which also broke with its parent brand and made its own positional distinction.
A pair of sets were forward-looking enough to list Molitor as a pure DH, Leaf and Studio. I recall these as later-year issues and were probably a reaction to Molitor’s role early on the 1991 season, in which he only appeared in the field once before late May.
Then, we have some true outliers. Upper Deck, showing that rebel streak that remade the hobby, boldly listed Molitor as a 2B in their set, and even used a photo of him playing the position. The semi-obscure Petro Canada Standup set also listed him as a 2B, but you had to actually stand the card up to discover this fact. Panini, in its sticker set, was the only brand to use a hybrid mark, listing Molitor was a “1B-2B,” his only 1991 card to accurately reflect upon his 1990 season.
And then there is 1991 US Playing Card set. In here, Molitor (as the Eight of Hearts) is listed as a centerfielder.
At this time, Molitor hadn’t played the outfield since a handful of games in 1986 and hadn’t been in center since 1981. Were they boldly expecting Molitor to take over in center for Robin Yount in 1991? My guess is that this is probably just an outright error. None of the other outfielder cards in the deck are given a specific OF spot (LF, CF, RF), and I can’t find anything that indicated they were acting on some of weird rumor of an unexpected position change. But nonetheless, the card exists and only adds to the positional confusion.
Oddly enough, all this positioning and repositioning for Molitor quickly became a moot point. Following the end of the 1990 season, Molitor would play first base and DH exclusively. His cards reflected this. For the most part. For 1992, Topps again branded him at a 3B across most of its sets despite his not having played there regularly since 1989. And, not to be outdone by their 1991 goof, the US Playing Card company issued two decks with Molitor cards in 1992 – one listing him at 2B and the other at SS – where Molitor hadn’t appeared since 1982 (his 1993 USPC card has him mercifully listed as an IF). At least it’s a consistent decade-long lag time, right? For 1993, only the Post Cereal Company still listed him at 3B. Card makers had finally accepted him for what had become – a DH and part-time 1B.
For his career, Molitor was listed on cards as a 1B, 2B, SS, 3B, IF, OF, CF, DH, 1B/DH, 2B/SS/OF, 2B/SS, SS/2B, 3B/DH, OF/IF, DH/1B, and DH/3B – not to mention post-career cards as a coach and manager. That’s 18 different listings (and perhaps more that I have missed) to describe a single remarkable career.