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.
Last week I received a surprise mailing of pre-war cards from Anson Whaley, the proprietor of prewarcards.com who many of us turn to whenever we have questions an anything pre-war. I treat these mailings as an opportunity to google the subjects of the cards and hopefully come across an interesting Wikipedia page that leads me down a rabbit hole.
In this case, it wasn’t a Wikipedia rabbit hole I fell in to but rather a Google Books one. Anson sent me a dozen 1901–02 Ogden’s Cigarettes General Interest cards. A couple sporting subjects but mostly non-sports miscellany—actors, politicians, ships, etc.
At first I thought this must be a different Richard George Knowles but I figured it was worth flipping through the book just to make sure. Lo and behold on page 65 I found an author photo. To my eyes it looks like the same face (no comment on the hairstyle).
This is pretty cool. My general interest card just turned into a baseball card. So I went back and downloaded the PDF from Google so I could take a deeper look at the book. It’s basically a baseball primer for an English audience more familiar with Rounders and Cricket but is also a great snapshot of the state of the game in the mid-1890s on both sides of the Atlantic.
The player lives in a world limited to three bases, a home plate, and two foul lines, and, for a couple of hours or so, finds relief from business cares, and snatches a holiday for his brain.
The first chapter is about baseball in general. It starts off building baseball up as a game of intelligence where draws are impossible, skills are required in all facets of the game, and failure can be minimized due to the number of repeated chances a batter gets. Much of this reads as an implicit comparison to Cricket which doesn’t feature baserunning and a batter only gets to bat twice a match.
It then goes into describing how to lay out a baseball field. It’s impossible for me to state how much I love this section so I’ll just paste the full text in here in case anyone wants to lay out their own baseball field.
Procure a heavy cord one hundred and eighty feet in length. Tie three knots in it, one at sixty feet five inches, one at ninety feet, and the other at one hundred and twenty-seven feet four inches.
Then, at the outer point of the home plate, drive a peg in the ground, and attach the line to it. Extend the line straight out to the third knot, and at that limit mark the second base. The knot is the centre of the base. Care must be taken that the cord be kept taut, and absolutely straight from the peg at the home plate to the centre of the second base, for the first knot, at sixty feet five inches, must now be taken to indicate the centre of the pitcher’s plate. When this has been duly marked, have one end of the hundred and eighty feet line held at the centre of second base, and keep the other end secured at the home plate as before. Then take hold of the second knot, at ninety feet, which is, of course, in the exact centre of the cord, and walk out with it to the corner of the diamond which is to mark the first base. Keep walking until the line is taut on both sides, and, at that point, mark the first base. Repeat this in the opposite direction, and mark the third base. The diamond is then complete.
That R.G. Knowles goes on to say that when he was a kid he used to carry a ball of string with the requisite knots in it just in case he needed to create a diamond for other kids is just wonderful. Do I think he’s telling the truth? Of course not. (since when have kids cared about proper dimensions when playing a game) But I love the sentiment.
The man who evinces a quick grasp and comprehension of the points of play, and who is also gifted with the capacity of being witty, is a very desirable person for the post.
The second chapter describes each position, including the “coachers” and umpire. Not much to say about the players except to note that second base is treated as the key position on the diamond. The umpire is similarly familiar in how he’s charged with being in control of the game. The coaches though are specifically the first and third base coaches and get a lot more description than any of the fielders. Aside from coaching the baserunners one of their jobs is to distract the fielders with banter.
Chapter three is the rules of the game. I didn’t read this one thoroughly since it appears to be mostly the same as current rules. I did notice however that things like the 18″ “pine tar” rule as well as the 3-foot running lane to first base already exist.
The next chapter though is great since it’s all about keeping score. Seeing different scoring methods is one of my favorite things and this section’s method is one of the most distinct ones I’ve come across. While it looks superficially like modern scorekeeping it’s vasty different.
To start off, shortstop is position #5 and thirdbase is #6. But everything else is different too. Instead of being a progression around the diamond each square is read left to right.
We also don’t have the now-standard abbreviations that I learned as a kid and which I’ve taught my kids. Take for example the following progression.
This represents a single, stolen base, advancing to third on an error (wild throw), and scoring on a passed ball. The only thing recognizable about this is putting an X or coloring int he diamond when someone scores.
Outs are a lot more familiar. This represents a ground out to the shortstop for the first out of the inning. Aside from the difference in position numbering this is pretty much the same thing I do today.
The rest of the chapter includes a bunch more examples of dealing with other possibilities available during a game. S–O are strikeouts. TI means advancing on a throw. S–H is a sacrifice. FF is a foul out. Very much the same kinds of things that happen in today‘s game and definitely sets baseball apart as a game which has always been obsessed with detail and replaying the events of games past.
The last four chapters of the book discuss the state of the game in 1895. Two chapters each devoted to Baseball in England and Baseball in America.
Among the people present at this christening of the game in London were: Buffalo Bill, General B. Williams (U.S. Army), Colonel Ochiltree, Mrs. Mackay, Mrs. Henry Labouchere, Mrs. T. P. O’Connor, Mrs. Alice Shaw, Dr. Maitland Coffin, Miss Blanche Rooseveldt, Mr. and Mrs. Tyars, Miss Hallett, Miss Helen Dauvray, Mrs. Conover, and Mr. W. Chapman. As a pressman summed it up, it was an audience of society folk, mummers and Mexicans, Cowboys and Cossacks, Gauchos and Indians.
The England chapter starts off listing a few exhibitions by American teams that failed to make any impressions before getting into a description of an exhibition between the Clapham Common nine—a team of Americans living in London who also appear to be members of the London Thespians—and a team of the Cowboys attached to Buffalo Bill’s Wild West Show at Earl’s Court. The game took place on July 13 1892 and Knowles includes an absolutely wonderful box score.
Where our author is batting third and playing second base in the scorecard, in the box score he’s batting fifth and playing second base (and pitcher) for the London Thespians Club.* This means that not only is my Ogden a card of a baseball writer, it’s of an actual nineteenth-century baseball player. Also the descriptions of the day jobs of the Wild West club players are something I could never in my wildest dreams have dreamed up.
*Especially appropriate given how Knowles is identified on his Ogden as a comedian.
Clearly fielding was not a strong suit for either team though I find it noteworthy that the concept of earned runs is prominent enough to be mentioned as a team stat. I also notice that the Wild West pitcher struck out 14 Thespians and that those putouts appear to be credited to the pitcher instead of the catcher. Oh and despite a cumulative 34 errors the game only lasted just over two hours.
The rest of the England chapters describe the growth of the league over the following years, the difficulty in finding good umpires, additional visits from American teams, hybrid baseball vs cricket exhibitions, and descriptions of a half-dozen baseball grounds.
The following chapter is all biographies of men associated with baseball in England from the President of the London Baseball Association Thomas Dewar to representative English players and representative American players in England.
The greatest interest centres in the professional teams that bear the names of such cities as Boston, New York, Philadelphia, Baltimore, Chicago, Pittsburgh, Cincinnati, Brooklyn, St. Louis, Washington, Louisville, and Cleveland.
This takes us to the final two chapters which detail the state of baseball in America in 1895. America seems baseball mad with an insatiable appetite for the results of games in progress. The growth of the professional game from individual teams to multiple leagues is markedly different than the amateur struggles Knowles describes in England.
Instead of detailing individual games like he does with the England summary, the 1895 season is described as a pennant race where the standing for a given day are reported instead of the game results until Baltimore clinched the pennant for the second year in a row. Burkett, Delehanty, and Keeler are listed as the top batsmen with Hawley, Rusie, and Young being the best pitchers.
Then we have essentially a biography of Harry Wright, the “Father of Professional Baseball,” as written by Henry Chadwick to close out the book. There’s a glossary, some more rules, an index, and a whole bunch of great advertisements which are too good not to share.
There are lots of great collectors on Twitter. Their posts are nearly always cool, but there are some that cause me to act. Kevin Lutes (@klutesphoto) always mixes in non-sports cards, which I love. When he shouted out about the 1976 Topps Happy Days set (44 base cards and 11 stickers), I was forced to track one down and, now bought, is en route.
I’ve wanted to write about a few non-sports sets I’ve worked on, or am working on, but the topic doesn’t fit our blog. Or does it? Our co-chair Nick not only advised me to look for a toehold to connect to baseball card, and even supplied one:
So here we go.
Last year I worked on a magnificent set, the 96 card 1953 Bowman Television and Radio Stars of NBC set. Fantastic photos of once famous, and some still famous, celebrities. It’s a relatively tough set to put together. Centering can be a problem, but that’s not a real issue for me. What was an issue was that, for reasons unknown (to me), the odd numbered cards are noticeably harder to find. I lucked out with a big haul of odds at last fall’s Shriners’ show in Boston.
There’s also a 1952 version, a shorter checklist – 36 cards with some overlap with 1953 – with horizontal text on the back (the 1953s have vertical text). These are harder to find, period, but I’m working my way through it, a little less worried about nice corners and the occasional crease. I’ve got 22.
That’s the background; here’s the baseball.
Pioneering sportscaster Bill Stern got a card in the horizontal set. Stern’s connection to baseball is strong – he broadcast the first telecast of a baseball game in 1939 and appeared in Pride of the Yankees.
Bob Considine also gets a card in the 1952 set. Sportswriter, baseball writer, author of books and screenplays, Considine was a giant in his field. He wrote The Babe Ruth Story with the Babe himself and then the screenplay. Yeah, I know, it’s a crappy movie, but still…
Speaking of the movie, the faux Babe, William Bendix, gets a card turn the following year. No mention of his baseball work on the back.
Another set I’ve been casually working on is the 1957 Topps Hit Stars. An 88 card masterpiece of radio, TV and music titans, prices cover a wide range, with multiple James Deans, Buddy Holly, Jerry Lee Lewis, Little Richard, The Crickets and an Elvis a little more than I’m ready for right now. Lesser stars, and some bigger names, if I’m lucky, run me about $1.50 each. Here’s a Jimmy Piersall, as played by Tony Perkins.
It may be nicer than Jimmy’s 1957 Topps card. It’s close.
That’s all for now. As non-sports baseball cards come to my collection, I’ll keep you informed. Until then, ask not what non-sports cards can do for you, ask what you can do for non-sports cards.
This post will look at a sampling of players whose brothers played a different professional sport simultaneously. Furthermore, I am focusing only on siblings that had cards issued in the same year. Therefore, there may be a numerous sporting brothers, but they had to have simultaneous cards to fit the parameters of this post. Finally, this is not a definitive list. Think of this as a discussion opener, in which your examples will add to the body of knowledge.
The impetus for this post was the recent death of Pumpsie Green. I was unaware until reading his obituary that Pumpsie’s brother-Cornell-played for the Dallas Cowboys. The siblings only overlapped with cards in 1964.
Another set of baseball/football playing brothers were the Kellys-Pat and Leroy. Leroy Kelly was a star running back for the Cleveland Browns in the last 1960s and early 1970s. His younger brother, Pat, was an original Kansas City Royal in 1969 and forged a nice career as a journeyman. The Kelly boys have seven years of dual cards (‘69-’74). Note that a similar cartoon appears on the backs of each brother’s card in 1970.
Contemporary with Pat and Leroy were the athletic duo of Alex Johnson and Ron Johnson. The enigmatic Alex won the AL batting title in 1970, while Ron was an elite running back- twice topping the 1000 yard mark. for the Browns and Giants in the early 1970s.
Mark and Dan McGwire were another set of ‘balling” siblings. The Seattle Seahawks took Dan in the first-round of the 1991 draft out of San Diego State. Unfortunately for Seahawks fans, he was a total bust. Of course, Mark’s supernova stardom quickly shrank into a brown dwarf-much like his post-PED physique.
Like Dan and Mike, I’m sure that Wayne and Terry Kirby tossed spirals and curve balls in the backyard growing up. Both had cards in the early 1990s.
A more recent pigskin and cowhide familial pairing is Matt and Jack Cassel. A 2007 rookie combo card features Patriots quarterback Matt, while Jack’s brief major league career is depicted on a Padres rookie card.
Of course, brother athletes are not confined to baseball and football. Jim Bibby was an excellent starting pitcher for several teams in the 1970s, while brother Henry was plying the hardwood for the Knicks.
As recently as 2017, Golden State Warriors star, Klay Thompson, had a brother-Trayce-pitching for the Dodgers. The other Thompson brother, Mychel, plays in the NBA as well.
To keep you from dozing off, I will mix it up by closing with a brother and sister combination. In 1977 Giants pitcher Randy Moffitt and his superstar sister, Billie Jean King, were featured on cards. Billie Jean shows up in the large format “Sportscaster” card set.
Undoubtedly, there are glaring omissions in this brotherly love-fest. Just remember, the siblings must have cards from the same year. Tim and Dale Berra were not brothers at the same time. (Attempted “Yogism!”)
I went to the East Coast National in White Plains on Saturday. Why is it the East Coast National? By definition, it’s not “national” if it’s “East Coast,” but, you know, there’s this:
All card shows start the same for me. I have an optimistic plan of everything I’m going to find, but then I hit the room and am immediately disappointed. Not so this time.
I’m uber focused and organized, but the ideal me is more spontaneous. I watch with awe the collectors who simply buy stiff they find looks cool, or is a bargain in a discount box. That’s not me. However, I printed up a 1955 Bowman Football checklists, marked the 10 I had, and hoped I’d find a box or stack of low price cards in nice shape to jump start the set. I’ve always loved this set, and I’ve seen tons of them in bargain bins.
It didn’t take long. I found a guy with stacks of cards, each at great prices, and I went nuts, losing all sense of time and place (to the point of missing a meet up. Sorry Matt!).
A couple of dealers later I was now working on a set. My friend Greg scouted out some cards and helped chose the best cards for the price. When I used to go to shows, I’d see tandems working on sets together. I always wanted to do that, and last weekend I did. Greg and I share a lot of common interests and, when it comes to cards, he immediately knew what I was looking for. It was great fun having him choose while I checked off the list. I came home with 45 cards for $85. I even have my first completed page!
That first dealer also had a stack of 1952 Bowman Television and Radio Stars of NBC. I knocked off a set of 1953 vertical backs last year, and was wavering on whether to go for the 36 card horizontal back set. You know where that wavering led; I’m totally working on the set. I came to the show 7 cards in, and picked up another 11, including two sports guys, Bill Stern and Bob Considine. With two more on the way I’m already close to the end. A bit lesser condition than my verticals, but they are definitely harder to find. (These were 50% off the listed price, don’t worry.)
Alright, alright, now on to the baseball cards.
I put a big dent into the last of my 1961 Post set, a full half of my want list at prices I’m not finding online. I’ve been hard pressed finding cards at prices I find reasonable (I wrote about that last month), but I knocked off these at exact the dollar amount I was looking for. Flood and Antonelli were a buck each and I’m thrilled to have gotten the Mathews for $15. I’m in the home stretch now – 11 to go!
If you’re a consistent reader of my posts, and, really, why wouldn’t you be?, you’ll know I’m committed to the 1960 Leaf second series. I’ve been pretty successful getting nice ones – EX or better – for less than $10 per common. It’s not super easy, though not super difficult. The opportunities come and go quickly. I pored through a pile of them and tried to talk the guy down from $15 to $10. He landed at $12, which was fine. It was good to knock 6 more off the list. I’ve got 27 of 72 and my average per card cost is still $7.93.
Early in the recent history of this blog, I wrote about how online buying knocked shows out of my system and, I thought, good riddance. Of course I was kind of wrong (kind of right too) because in the last two years I’ve been to great shows and made purchases at a level that can only occur at big events. I find myself already anticipating the next one!
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.
Steve Wynn sang about it on The Baseball Project’s 3rd album.
Tyler Kepner and I talked a bit about it over dinner and cards in Cooperstown.
I experienced it myself, from 1979 – 1984.
I can tell you that cards became, if not uncool, then put in forced hibernation, before my senior year of high school. Up to that point, I wasn’t shy about having people know I collected cards. Kinda late, now that I think about it. Why were baseball cards (and other cards) something to be proud of, well, if not proud of then unashamed by, through 11th grade, but not 12th?
I have no idea. I do know that bailing on cards when I did bit me in the ass, at least when it came to hockey cards. I bought the complete Topps set every year until 1979. Yeah, 1979 was the first year I stopped buying complete sets. Yeah, 1979!!!!!
I missed cards during those years and I could have very easily kept up on the down low. No one needed to know but me. Still, there were a lot of things that went on during those years – leaving high school, having first relationships, going to college, graduating from college, getting a job. Looking back, cards would have provided me some much needed comfort, very similar to what they give me these days.
I’m not sure I thought they were uncool. Despite my vaunted record store running background, I was never the cool-type. I had my aesthetic, and that appealed to some and worked for me. Actually, staying with cards would have enhanced that image, not taken away from it.
Hard to say how I felt then. All I can remember is my first inching back, my toe-dipping into the pool.
It was September of my senior year at SUNY-Binghamton and a bunch of us were driving to Cornell to see Graham Parker. It was his tour behind The Real Macaw.
Right out of campus, we stopped for gas and I bought a couple of packs of 1983 Topps baseball. I don’t know who I got in those packs, but I was stirred, though not moved enough to go all in.
I graduated in May 1984, had a job and lived with my parents in Staten Island. I needed all the comfort I could get and dove back into cards, catching up on the sets I’d missed (Topps, Fleer and Donruss) but only baseball. (My second, and last chance, at the Gretzky rookie!). Lucky for me, I started piecing together some older sets I had started pre-1979.
Though my card interest has had its peaks and valleys since then, it’s never gone away and there isn’t much I missed that I regret (maybe 1986 Fleer basketball, but that’s more monetary than emotional.)
Nick Vossbrink’s recent post about his kids and their joy in the hobby is a wonderful read. I hope they stick with it as long as they love it, and not be influenced by what others may or may not think is cool or worthwhile. Most of us have failed that test at least once, with cards or without.
I have 15 of 66 cards from the 1965 Topps Soupy Sales set. I’m not there.
I have 6 of 88 1957 Topps Hit Stars. Not yet.
I have 6 of 24 1968 Topps Posters, off condition donated by friends. I’m uncommitted.
1960 Leaf second series. I’m all in.
I wrote about the 1960 Leaf set in December. Soon after I posted, I grabbed a Harry Brecheen.
Then I picked up Henry Mason and Earl Torgeson in a COMC order. I told myself I was casually working on the set. That’s even in my name for the spreadsheet I created.
But am I? I bought a Faye Throneberry at COMC (not in hand yet), and then five from one eBay seller.
Now I’m 1/8 of the way there and going for it. (By the way, all the cards are standard shiny white. Not sure why they photographed so dingy. They’re nice, though not as nice as my first series.)
At less than $9 per card in EX to EXMT, I could happily acquire more commons, though this condition at that price is a challenge. The second series cards are out there, but tend to be listed for more. I’ve been lucky so far. Some cards will set me back – Sparky Anderson, Orlando Cepeda, Jim Bunning, the two Hal Smiths (one card), maybe Curt Flood.
I’m happy to be swept in by these cards. It’s a good, manageable project that crept up on me and, all of a sudden, I was in for keeps.
Author’s note: This is the second post in a series highlighting “common players” with stories far richer than the value of their trading cards. The first post in the series profiled Dave Hoskins and can be found here.
The common understanding of the term “Renaissance Man” is of someone with many talents or areas of knowledge. Ernie Barnes fits this description. Less correct but truer to the origin of the word renaissance would be a man reborn. Ernie Barnes fits this description too.
Raised in segregated Durham, North Carolina, Barnes was chubby, nonathletic, and bullied by his Hillside High School classmates. He mainly kept to himself and drew in his sketchbook to pass the time. Tommy Tucker, a teacher at the school, noticed the drawings and took an interest in Barnes. A bodybuilder, Tucker sold Barnes on the positive impact weightlifting could have on his life. By the time he graduated, Barnes was state champion in the shotput and captain of the football team. He also had scholarship offers to 26 colleges.
At North Carolina College, Ernie Barnes played tackle and center on the football team while majoring in art. As a kid, despite his interest, Barnes was never able to visit the North Carolina Museum of Art. Blacks were not allowed. In college, however, Barnes made a trip to the recently desegregated museum with one of his art classes. The answer when Barnes asked where he could find paintings by Negro artists? “Your people don’t express themselves that way.”
Twenty-three years the work of Ernie Barnes would fill this same museum, and today his work hangs in Halls of Fame, top galleries, art museums, and the homes of the art world’s top collectors. If you love Motown and grew before everything was digital, there’s a good chance you even have an Ernie Barnes sitting in your music collection.
That’s great, Jason, but what does all this have to do with baseball cards? Well, let me at least bring it back to sports.
Barnes was selected in the 8th round of the NFL draft by the Washington Redskins, but his Redskins career lasted only a few minutes. Then the team found out Barnes was black. Two rounds later, the Baltimore Colts called his name but ultimately cut Barnes at the end of training camp. In 1960 Barnes played five games with the Titans of New York, who later became the Jets.
Barnes spent the 1961 and 1962 seasons as a San Diego Charger and the following two seasons with the Denver Broncos. Barnes never approached All-Pro status or even started a game, though he picked up the nickname “Big Rembrandt” for the sketches he did during games, including in huddles.
I suspect when you think of football players turned actors, Barnes is not the first to come to mind.
Nonetheless, Barnes acted in numerous television shows and movies, highlighted by his portrayal of Josh Gibson in the 1981 Satchel Paige biopic “Don’t Look Back.”
There is another connection Ernie Barnes has to baseball, one shared with me by Lawrence “Dan” D’Antignan, owner of Chicago’s historic Woodshop, longtime institution and early commercial epicenter of African American art.
As Dan tells it, his wife had made a trip to Los Angeles to meet with Ernie Barnes and discuss the selling of his work when the meeting was interrupted by a woman hoping to show off the work of her teenage son who 100% lived up to the hype.
Perhaps you’ve tasted the back of some of his artwork…
Or been greeted by it at the Negro Leagues Baseball Museum in Kansas City…
There’s also a very good chance you’ve run across his book.
Of course, you didn’t come here to read about Kadir Nelson or even art! You want CARDS! Well, luckily I aim to please.
While an Ernie Barnes painting would easily set you back five figures if not six, it turns out any motivated collector can add an Ernie Barnes to his or her collection for the price of a bad ham sandwich.
As the title to this post suggests, Ernie Barnes, one of the great artists of the 20th century and an absolute icon in the African American art world, is a mere “common player, starting at around $2 on COMC and eBay.
Common though he is in the price guides, Ernie Barnes is the only man on the set’s 176-card checklist certain to remain relevant not just decades but centuries from now. Somewhere in a museum a young visitor will ask the docent where the works by African Americans are kept. And then, long, long after all 11 Hall of Famers in the 1964 Topps set have faded from memory, the visitor will happen upon an Ernie Barnes and neglect the rest of the day’s plans for a brush with greatness.
Cool card, right? Hall of Famer, glove on hip variation, rare back, sharp corners, a real beauty.
Why do I have it? Well, around 20 years ago, I decided that it would be awesome to try to get a card of every HOFer from their playing days. I started accumulating some, but knew, in my heart, I’d never get there. Expense, rarity, fluctuations in income and time would prove me right. This was a pipe dream.
Pipe dreams can be fine; having a Holy Grail has its merits. It’s not for me. I like to collect sets, manufacturer ordained sets. I’m not a Personal Collector, looking for every Max Alvis card (though I’ve thought about doing that), or a Team Collector, or a Type Collector. Great pursuits all, not my thing.
So now I’m left with a bunch of nice pre-war cards that, because of my nature and the reasons I acquired them, have no emotional hold on me. Mark Armour and I spent a long time on the phone last week talking about emotion and collecting, and how, for us, they’re inextricable. I think we all know this. The cards in our collection that we’ve known since we were kids feel different to us than the cards we’ve purchased along the way. I can assure you that the 1977 Burger King Yankees set that I got last week brings me more joy than ol’ Muggsy’s T206.
You’ve read about my travails in grading and I can report that I sold the Ruth and Cobb for about as much as I think I can, based on lots of offers and auction results. I only had a little post-partum blues, but they faded fast. The main reason I sold those was to buy a nice 1956 Mantle, which I did.
What’s interesting to me is that a 1956 Mantle is about equal in my mind (and heart) to the McGraw. Mantle retired around when baseball started to blossom for me and, even when I started collecting cards in the early 1970’s, he was never a guy I dug. So why, in effect, trade a Cobb Domino Disc for a ’56 Mick?
I think I do have a reason. When I was first buying old cards, I fell in love with the 1956 set. For years, it was the vintage set I had the most of (about 40 cards). I started pursuing the set in earnest a couple of years ago and needed Mantle.
Rather than bringing me back to my youth as a pack buyer, which, I have to say, finishing low value insert Football sets – 1970 Super Glossy, 1971 Game and Posters – did in spades,
the 1956 Mantle brings me back to my youth as a collector. I can see 12-year old me with his first ‘56s, remember buying beautiful Pee Wee Reese and Whitey Ford cards, and there’s a certain pang that comes with those cards.
We’ll see where this all goes. In reality, there’s a limited amount of cards from my growing up that I don’t have, or still want. In retrospect, I should’ve bought the 1979 Topps Hockey set instead of this McGraw card. Maybe that’s my next deal, selling Little Napoleon to buy The Great Gretzky’s rookie card.