I’ve shared pieces of my Aaron collection here before. It includes bobbleheads, magazines, milestone home run “I was there” certificates, postcards, and of course the obvious: baseball cards.
For the most part, the collection had felt complete (or at least done) over the last year or so given that the only items on my checklist are way out of my price range. A typical example is Aaron’s 1972 Topps Cloth Sticker test issue, a recent copy of which just sold for about $600.
Of course that was before I came across a Brewers Spring Training program from 1975.
In truth, I tend to limit my magazine/program collecting tends to what Mark Armour would call “primary subject” covers. With this particular program, taxonomy is a bit complicated in that Aaron is the only named player but his image is much smaller than that of the batter and catcher shown, to whom we’ll know turn our attention.
At first glance these two players appear to be generic ballplayers reminiscent of the generic athletes that donned our ubiquitous Pee Chee (not to be confused with O-Pee-Chee) folders in elementary school.
However, there was no question who served as the model for at least the catcher.
It would be fair to ask if the similarity here is simply coincidental or if the match is exact. For this it is useful to overlay the two images. Rather than use the Bowman card, which crops away portions of Campy I’ll use the original photo upon which the Bowman image was based.
Since I am not only an Aaron collector but a Campanella collector as well, this discovery promoted the program from mere curiosity to must have, particularly given the very reasonable $5 price tag involved.
Through no lack of attempts I was ultimately unable to determine who the program’s batter (“Bento”) might have been. The name and uniform number made me think of Johnny Bench, though the handedness was a problem.
Perusing Getty Images I found shots of Rose, Maris, Yaz, and others that were similar but never exact. Still, as they say on the “X Files,” I do suspect the truth is out there.
Barring a miracle find from one of our readers, the one person who does (probably) know is the artist, whose last name is clearly Broadway but whose first name is less evident (Lonn? Ronn? Tom?).
Leaving the mystery of the batter unsolved for the moment, we can at last turn our attention to the Home Run King.
A keen-eyed Twitter user had no trouble finding the source photograph for Aaron himself.
From there it’s easy to imagine the graphic designer (perhaps Mr. Broadway himself) cutting out a Brewers hat logo (or just a capital M) from another photograph and gluing it over the Braves logo. One source I can rule out is the 1974 Topps Brewers team set where the closest match would require reversing the image of Bobby Mitchell’s card 497.
Is the result rather amateur? Absolutely, but in fairness there may not have been any photographs of Aaron in a Brewers cap at the time the program went to press, right? Oh but wait, what’s this on page 6 of this very program?!
Aaron is also featured (but with no photo) in the brief 1975 season preview on page 4 of the program. As the writer notes–
The addition of the all-time home run king Hank Aaron fills the designated hitter spot of the Brewers, a spot that last year produced only 14 home runs, 62 runs batted in, and a .222 batting average.
Almost on cue, Aaron’s 1975 slash line was .234/12/60.
Were I to rank my Top 100 Henry Aaron collectibles, this Spring Training program would fall far below even the bottom of the list. At the same time, were I to rank them by their oddity or mystery it probably makes the top five. After all, even if you solve the riddle of Bento, I now challenge you to identify the players on page 16…
And most importantly…what the heck is going on with dad’s hair on page 5? All I’ve been able to figure out so far is that the artist went on to work for Fleer in 1989. 😊
ANSWERS TO PICTURE CHALLENGES
Congratulations to Don Sherman who was the first to identify the page 16 artwork as coming from the 1946 National League playoff between the Dodgers and Cardinals.
Umpire is Babe Pinelli, catcher is Bruce Edwards, and batter is Red Schoendienst.
Multiple readers correctly identified the two most prominent figures on page 19 as Yogi Berra and Don Larsen following the final out of Larsen’s perfect game in the 1956 World Series. However, the jury is still out on which other players are “going for the gusto” in the image.
Editor’s note: SABR Baseball Cards welcomes new member F. Scott Wilkinson with the third of his 10 articles on the 1972 Topps set, now approaching its 50th anniversary.Click here to start the series from the beginning. This post takes a detailed look at the design of the 1972 cards, with a brief comparison to other Topps schemes of the era (1970-75).
I have explained many times that I am, by Profession, a Gambler—not some jock-sniffing nerd or a hired human squawk-box with the brain of a one-cell animal. No. That would be your average career sportswriter—and, more specifically, a full-time Baseball writer.”
—Hunter S. Thompson
If memory serves, it seemed like with a little help from the “Dick, Jane, and Spot” books I learned to read by studying Baltimore Orioles box scores at my grandparents’ house, and in those days they got both morning and evening editions of the Decatur Herald & Review – woohoo! Right away I was finding baseball books for kids and taking in old numbers like candy. Ruth’s 714 home runs, Cy Young’s 511 wins, Walter Johnson’s 3508 (now 3509) strikeouts, Joe DiMaggio’s 56 game hitting streak, Ty Cobb’s career batting average of .367 (now .366), etc…all of those and many more are iconic, seared in there early. Who knows why they were appealing – they just were.
Then you start looking into things like Tris Speaker being the all-time leader in doubles (with 792) and Ted Williams being the last person to hit over .400; turns out he could have sat down for the final two games of the 1941 season (a double-header) to protect the number, but he played both games, went 6-for-8 and ended up hitting .406. Important stuff, right? Yep – because then it’s interesting when players like George Brett, Tony Gwynn, and John Olerud make a run at that .400 barrier.
As fascinating as the facts and figures are, they’re just numbers – entry-level and rudimentary. But baseball is famous for being a true statistician’s game, which ultimately led to Sabermetrics and a deeper analysis of the game by comprehensively crunching and evaluating the numbers ad nauseam, looking for a winning formula. And that’s all fine, but it gets us too far away from the feeling of the game…and the feelings those cards stir up…they’re not easy to describe…but let’s try…so, back to those cards…
There’s so much color and data to take in from the ’72 set – it’s any lifelong baseball fan, art aficionado and/or number-addled stat geek’s happy daydream fully realized. The palette of the series is otherworldly compared to every other Topps year and the design almost reminds of classic Art Deco, Henri de Toulouse-Lautrec’s posters or pop artists like Roy Lichtenstein or Andy Warhol. If there was a singular influence, likely it was not as antiquated or highfalutin as these, but closer temporally and geographically to the Brooklyn-based Topps Company (like Lichtenstein and Warhol). Namely, this David Edward Byrd poster from the musical “Follies”, which debuted on Broadway, April 4, 1971. The font is a match and the stars on either end are uncanny too.
Whatever the inspiration, the series is defined by the look of the individual player cards which feature their team name bursting off the heading in black 3-D block lettering. The bold team name is highlighted with two colors that complement the main color of the card and is bookended with two small stars that share those complementary colors. Fancy fancy.
Here’s a prime example – the card of Dick Williams (#137), who managed his Oakland Athletics to a World Series win in 1972.
Oddly, the main color of a card often has nothing to do with the team’s actual uniform colors. Example: The Dodger cards are orange, with yellow and white highlights—no trademark Dodger blue anywhere. The Reds are green; the Cardinals and Orioles are blue, the Cubs and Indians are purple, and the Mets and A’s are both red. Still, it all works somehow.
There are 12 distinct color schemes, all bright primary and secondary colors (hues of yellow, blue, red, green, purple, and orange), and well-conceived for the most part. With 24 teams in 1972, Topps assigned each design to both a National League team and an American League team.
Each scheme has three colors, with a principal color for the body of the card, a second color (generally) making up most of the accent coloring of the team’s name in the 3D font, and a tertiary color for the remainder of the 3D accent coloring and the piping that frames the picture and text. All of that within an outermost border of white, with player names at the bottom, in capitalized black font on a small white placard. A simple, elegant design.
Collectors have called the 1972 cards “tombstones” for their unique border and it’s true—the colored portion is shaped like an old-time tombstone. They definitely have a groovy, psychedelic feel, even though the Summer of Love was five years past. Somehow they always made me think of paper trophies. They differ from other years in that the position of the player is not indicated on the front, removing some clutter and borders, and there are no sprawling player signatures either.
The result is so clean and perfect that some of them almost transcend baseball to look more like iconic artistic works than mere sports cards. Think of Andy Warhol’s silkscreened visions of athletes like Pele, Muhammad Ali and Tom Seaver. That’s an overstatement, but some of these look as fresh as any pop art there ever was.
Here are some nice examples including my personal favorite, Horatio Pina (#654), with blue sky and cotton ball clouds in his background. I swear all these look like artful, timeless portraits worthy of a silkscreen or framed oil painting. Really.
For fun here are all 12 color schemes, ranked from my most to least favorite, listing in order the NL team, AL team, first color (most prevalent), second color (majority of team name), and third color (piping). [Note: team allegiances may have influenced rankings somewhat!]
San Francisco Giants/New York Yankees – yellow, orange, red
St. Louis Cardinals/Baltimore Orioles – dark blue, yellow, light blue
Cincinnati Reds/Chicago White Sox – light green, blue, yellow
Los Angeles Dodgers/Detroit Tigers – orange, white, yellow
Montreal Expos/Boston Red Sox – green, orange, yellow
Chicago Cubs/Cleveland Indians – purple, green, yellow
Houston Astros/Texas Rangers – yellow, orange, blue
Pittsburgh Pirates/Minnesota Twins – light blue, dark blue, orange
New York Mets/Oakland A’s – red, yellow, orange
Atlanta Braves/Kansas City Royals – red, green, yellow
Philadelphia Phillies/California Angels – orange, green, blue
San Diego Padres/Milwaukee Brewers – dark blue, orange, light green
The ’72 set is defined by organization, with every player on a team sharing the exact same color scheme while the aforementioned 1975 cards have schemes assigned randomly, so that most players on the same team have a different look. This seems a little chaotic and purposeless, but maybe that was 1975 in a nutshell?
Before we get to those unruly ’75 cards, let’s rewind to 1970 to remind ourselves why the 1972 lot stood out so much from all the other Topps cards that came out between 1970-75 (let alone all the cards that came before 1970 and after 1975).
1970: Those gloomy gray borders and cards almost devoid of color. Earl Weaver, who managed the O’s to a World Series win in 1970, would probably be the first to say that he was no Flower Child, and here is proof. Earl looks more like 1960 than 1970.
1971: Similar to 1970, but much better – the black is bolder than the gray, there are showy signatures, and more color in the larger font. For me, Dock Ellis epitomizes the early 1970’s – the bold fashion statements, politics, fearlessness, and renegade demeanor. Plus, for a while he was a hell of a pitcher. If you don’t know why I picked his card to represent this pseudo-psychedelic year (and even if you do) please watch this
Again, 1972: Bill “Spaceman”Lee. Perfectly normal, right? Actually they are, for the most part – the (red-brown) backs saw a return to listing career stats and the pictures are mostly standard (more on that later) – it’s just the team name that’s gone crazy compared to other years.
1973: After the anomaly of 1972 there was a return to drab normalcy, but at least Topps didn’t exactly go backwards. Here’s a good one – one of my favorite pitchers ever (see the silhouette in the bottom right corner? that’s how we know he’s a pitcher!), with one of the most entertaining wind-ups of all time – borderline Hall of Fame prospect Luis Tiant, mugging like a Vaudevillian:
1974: There was some improvement with those banners at the top and bottom and the colored border piping. The cards are still mostly black and white and a little tame, but they almost have a classy look. Here’s another favorite – another borderline Hall of Fame candidate – Dave Parker in his rookie year, with sideburn.
Then came the 1975 set…which more or less amounts to a flaccid reprise of psychedelia. Though I’ve grown to appreciate the ’75 cards for the players they represent and the funky mid-decade style that’s on full display (Oscar Gamble, anyone?), the design feels lazy and simplistic, with one solid color on the top half border of the card, a second solid color on the bottom half, and a third color for the team’s blocky faux-3D name at the top. Overall they lack detail but at least got back to player signatures…and the little baseball with the player’s position is a nice try too.
The worst thing about them has to be the choice of color schemes, with some just damn ghastly compared to the 1972 lot: purple paired with pink and yellow lettering, salmon and teal with red letters, and poop brown with burnt orange and red font—ick. They look cartoonish and haphazard, with off-cuts aplenty. Mid-70s apathy.
And even with all that said…they do have a nice high gloss…and they’re more fun than what came out in 1973 and 1974…some pizazz after two years of relative stodginess.
Check out these gems found happily in my recovered collection—rookie cards of Hall of Famers Gary Carter, Robin Yount, and George Brett.
Maybe they aren’t so bad after all? The jury’s still out!
This is part of my ode to baseball and the early 1970s in general, and to the Topps Company and the special 1972 set specifically. Thanks for the memories, Topps—both the old ones and the new ones! Apologies for the pronounced wordiness, but the 50th anniversary of the set warrants some indulgence.
Dedicated to my sports-loving mom, Caroline B. Wilkinson, who never threw my cards away, and to all the players from the 1972 Topps Series, especially those who passed during the writing of this article: Henry Aaron, Dick Allen, Ed Armbrister, Glenn Beckert, Hal Breeden, Lou Brock, Oscar Brown, Horace Clark, Billy Conigliaro, Chuck Dobson, Paul Doyle, Ed Farmer, Ray Fosse, Bill Freehan, Bob Gibson, Jim Grant, Grant Jackson, Bart Johnson, Jerry Johnson, Jay Johnstone, Al Kaline, Lew Krausse, Angel Mangual, Mike Marshall, Denis Menke, Lindy McDaniel, Roger Moret, Joe Morgan, Phil Niekro, Bob Oliver, Don Pavletich, Ron Perranoski, Juan Pizzaro, J. R. Richard, Mike Ryan, Tom Seaver, Richie Scheinblum, Rennie Stennett, Bill Sudakis, Don Sutton, Tony Taylor, Dick Tidrow, Bill Virdon, Bob Watson, Stan Williams, and Jim Wynn.
Special thanks to Baseball-Almanac.com, Baseballhall.org, Baseball-Reference.com, and Wikipedia.com for kindly compiling and sharing their vast treasure troves of data.
Extra special thanks to Jason Schwartz and Nick Vossbrink for their timely encouragement and warm welcome into the SABR community.
Much gratitude to Mr. Larry Pauley, who gave this project direction when there was none.
What an unexpected thrill for me to see Gil Hodges finally “get the call” from Cooperstown. Among other things, his recent election provides the perfect occasion to showcase some of his most beautiful baseball cards.
If there is a single card to represent 1950s baseball, this might be it. Four beloved “Bums” in a classic baseball pose with the Ebbets Field outfield wall behind them in all its advertising glory.
The very first Topps World Series subset (if you don’t count 1948) is in my opinion the best. Obviously my love of the Dodgers plays a role here, but it’s really the look of the cards that grabs me. The Hodges card, in particular, is a true masterpiece of its time.
For many players, a card this beautiful would take first place without question. In truth, I’m not sure any other player of the era has a third place card even close to this one. I suspect it’s possible to look at it and see only a rather overused batting pose with a not particularly crisp stadium backdrop. Equally, however, it’s possible to look at it and see something more: perfection.
I know not all will agree here, but I regard Gil’s 1952 Topps card as the prettiest in the entire 407-card set. I love everything about it: the peach background, the landscape format, the shadows, the pose, the expression, the shoulder patch, the cut of the sleeves, the timeless Dodgers logo.
Though far more attention today goes to the pseudo-rookie cards of Mantle and Mays, I have to imagine this card when it came out was instantly one of the two or three most popular among the 12-and-under division of New York’s gum chewing elite.
What can I say? I’m a sucker for skies. For whatever reason the white and purple clouds and baby blue sky create not only a three-dimensional look to the card but practically trick my eyes into thinking the actual Gil Hodges (1954 version, not 2021) is looking right at me. It’s an illusion I normally only get from Graig Kreindler paintings. Note that this same image haunts the 1953-55 Stahl-Meyer Franks and 1953-54 Briggs Meats cards. Ditto for 1958 Bell Brand but in black and white.
Three other Gil Hodges cards that could have easily occupied any spot on this list are his 1950, 1952, and 1953 Bowman cards. I lack the image editing skills to do so, but I daresay adding some flourish to the bald sky of his 1953 card probably takes it straight to number one. Did I mention I’m a sucker for skies?
Finally, I would be remiss in ending this article without a single Mets card. After all, his time at the helm of the Miracle Mets may well have factored into his Hall of Fame nod nearly as much as his years as Dodger first baseman. In truth, I don’t think any of Gil’s Mets cards can compete aesthetically with his Dodger cardboard, but his 1972 O-Pee-Chee, noting his (then) recent death, is what I’ll end on.
Side note: I have to imagine a lot of Canadian youth asking their moms and dads what “deceased” meant and then getting really sad.
Hodges died suddenly at the very young age of 47. His 1972 baseball card is a reminder that none of us really know the days we have left, whether for ourselves, our loved ones, or our heroes. About all we can do, though it’s not a small thing, is to make the most of the time we have, living our lives with purpose and gratitude and making the world a little better where we can.
Author’s note: This post is dedicated to SABR member Donna Muscarella and the memory of her father, a Gil Hodges fan without equal.
If you’re a reader of this blog, which I’d bet a lot you are (at least today!), you’re not content simply to collect baseball cards. You enjoy learning and knowing about the cards you hold in your hand or dream about on your want list. While in many cases our research into a set turns up more mystery than history, we are occasionally lucky enough to go directly to the source and have all our questions answered.
Our latest series, “Creating the set,” features interviews with the creators directly responsible for the various cards and collectibles that comprise the Hobby. Leading off the series are the Baseball Treasure sets of officially licensed MLB coins produced in 2018 and 2019 by Boston-based florist-collector Rick Canale.
Each base set included 30 copper coins, one player per team, mounted in cardboard holders the size of standard baseball cards. Coin fronts featured a portrait of the player, along with position and team. 2018 versions also noted the year. Coin backs depicted an action pose captioned with a career highlight.
The holders changed considerably from 2018 (Perez above) to 2019 (Yelich below), evolving from a single 2.5″ x 3.5″ cardboard slab that rendered both coin sides visible to a fold-over model with a window for only the front of the coin. Fronts featured a minor re-design, omitting player name and uniform number in favor of more prominent team identifiers.
Each year of the release included special premium edition coins, such as this 2018 gold edition of the Aaron Judge coin.
With these basics out the way, let’s catch up with the set’s creator.
SABR Baseball Cards: Rick, before we jump into the Baseball Treasure sets themselves, tell us a little bit about your own background as a collector.
Rick Canale: I picked up my first cards in 1978 when I was seven years old and from 1979-86 I was completely hooked. After that I still bought a few packs a year but other interests like cars and girls took over. College too eventually. The birth of my first son in 2004 brought me back into the Hobby, and thankfully my mom did not throw out my baseball cards. While my sons never got into card collecting, they do love Fenway. As for favorites, I loved those late 1970s Red Sox teams: Fisk, Lynn, Scott, Hobson, Eck, etc. I also enjoyed the speed-power combo guys like Rickey Henderson and Cesar Cedeño, but it’s the sluggers like Greg Luzinski and Dave Kingman who really captured my heart.
SABR Baseball Cards: When did you get the idea to produce a set of your own. Was this a lifelong dream or something that just popped into your head one day?
Rick Canale: I think we all want to make our own set at some point. This was kind of something that fell in my lap. My best friend from high school was looking for something to do after selling his company. He had connections at a mint in Massachusetts and I had connections to MLB and various distributors. Our early pitches to locals were not met with much enthusiasm, but when we pitched the idea to MLB of collectors winning real silver or gold they really ran with it.
SABR Baseball Cards: What came next? How did the idea become an actual product?
Rick Canale: There were a ton of hoops to jump through. Things like getting calls back from MLB and the MLBPA did not happen overnight. I was fortunate to have some connections who helped keep things moving. I’ll add that there was a lot of secrecy, for example contract language that can’t be shared.
SABR Baseball Cards: What prompted you to decide on coins rather than cards or some other form of baseball collectible?
Rick Canale: Coins was the natural choice because of my friend’s connections to the mint. Keep in mind also that cards would not have been possible due to the exclusive licensing that Topps already had in place. In fact, many of the changes in the product between 2018 and 2019 were due to Topps regarding our initial release as too similar to baseball cards. It was a major setback for us that required us to change our packaging and mounts. Sales suffered as well.
SABR Baseball Cards: Your debut offering included one player for each of the 30 teams. How were the players selected?
Rick Canale: One player per team was how we chose to create the set. However, we definitely saw that the market is driven by a small handful of teams. For each team we focused on talent, character, and the likelihood of being traded. Drafting the list of players was fun, though finding a Marlin was tough. We actually asked MLB if we could use Don Mattingly, the team’s manager!
SABR Baseball Cards: I know Todd Radom worked with you on the Baseball Treasure logo and packaging. How did you go about getting the coins themselves created, including the artwork?
Rick Canale: Yes, the coins themselves were created by a person whose craft is coin dyes, but Todd created all the mounts and associated artwork. I cannot say enough great things about Todd. His work is incredible, and the person matches the talent. His friendship is the greatest asset I kept from the venture.
SABR Baseball Cards: If you could turn back the clock, are there changes you’d make to the sets, notwithstanding the ones forced upon you by Topps?
Rick Canale: More players from the most marketable teams as well as more star power. We also would have spent less on advertising and more on prizes (e.g., the silver and gold coins). Still, being featured on MLB Network was a thrill.
SABR Baseball Cards: What were some of the other challenges in marketing and selling these coins?
Rick Canale: First the positives. We sold great at the Hall of Fame (1000 packs the first year), on MLB.com, in hobby shops, and at ballparks. However, not being in Target and Walmart killed us. Getting our coins into people’s hands was of course key, and this was too hard to do without the two biggest guns supporting us. 7-Eleven did pick us up, but they really butchered the product. They wanted open packs, no mystery at all, which also meant no chase for silver or gold. In Boston, for example, once Betts and Benintendi were gone the box would just sit on the shelf with no sales.
SABR Baseball Cards: What was it like to hold an actual Baseball Treasure coin in your hand for the first time?
Rick Canale: It was awesome. I put one in my pocket every day that first season.
SABR Baseball Cards: Fantastic! Probably safe to say that’s a feeling most collectors can only dream of, and you made it a reality. Thanks for speaking with us, and thanks also for putting out two terrific sets of baseball coins. Anything final your like to share with SABR Baseball Cards readers?
RickCanale: We have something of a surprise for Ichiro collectors. Before we closed up shop we also produced 51 fully licensed silver coins of Ichiro that collectors may see hit the open market timed with Ichiro’s Hall of Fame induction. Be on the lookout!
As a baseball card collector and enthusiast, I feel that I am living through the Renaissance era of baseball card art. My Twitter feed is filled daily with spectacular images of cards from many artists that are working with a variety of mediums to produce their own interpretations of what cards of past and present players should look like. A number of these artists are also using their artwork to support charitable causes.
There was certainly an undercurrent of fine baseball card artwork being produced long before 2020, but the Topps Project 2020 brought to the surface a tidal wave of beautiful cards from a wide variety of artists.
Was Project 2020 an original idea or was it a variation on a project from the Junk Wax era? A case can be made that Project 2020 can be linked back to the All Star FanFest Cards from 1994 to 2000.
The two projects are similar in that they have multiple artists and designers coming up with unique cards of a single player and they also share some common player subjects – Roberto Clemente (1994 – Pittsburgh FanFest), Nolan Ryan (1995 – Dallas FanFest), and Jackie Robinson (1997- Cleveland FanFest).
Ray Schulte was responsible for the All Star FanFest cards from 1994 to 2000. At the time he was working as an event consultant for MLB Properties, and cajoled some of the major baseball card producers of the 90’s to design and distribute unique cards of an iconic player from the city that was hosting the All Star Game. To obtain the cards a fan had to redeem 5 pack wrappers of any baseball product of the manufacturer at their FanFest booth.
I was introduced to the cards when I attended the All Star FanFest event held at the Hynes Convention Center in Boston in 1999. I attended the event with my family and upon learning about the cards from a Fleer representative sent my two kids on a mission to purchase 5 packs of cards produced by each of the four manufacturers from dealers at the event so we could exchange the wrappers for the Carl Yastrzemski cards designed just for the 1999 FanFest.
Now let’s take a closer look at the All Star FanFest sets which feature players that overlap with the Topps 2020 Project.
1994 All Star FanFest Set – Roberto Clemente
1994 was the first year that FanFest cards were issued and with Pittsburgh hosting the All Star Game the player subject was Roberto Clemente. Topps, Fleer, Upper Deck, Donruss, and Pinnacle issued cards for the event.
Fleer and Topps decided not to mess with perfection and produced cards that were essentially reprints of Clemente’s 1955 Topps rookie card and his 1963 Fleer card with 1994 All Star logos. Upper Deck issued a metallic looking card of Clemente that contains career stats and accomplishments on the front. Upper Deck would utilize the “metallic look” design for player subjects for the next 6 years. As you would expect, an image of a Dick Perez painting of Clemente is on the front of the Donruss Diamond King card.
1995 All Star FanFest Set – Nolan Ryan
With the 1995 All Star Game being held in the home park of the Texas Rangers the logical choice for the player subject for the FanFest cards was Nolan Ryan who retired in 1993.
The 5 card manufacturers who designed cards for the 1994 All Star FanFest also produced cards for 1995 All Star FanFest event held in Dallas.
Topps produced a re-imagined 1967 Rookie card of by eliminating the Jerry Koosman photo and enlarging the Nolan Ryan image to fill the front of the card. In microscopic print, Nolan’s complete major league pitching record is on the back of the card. Steve Carlton got the same treatment a year later when Topps enlarged his airbrushed 1965 photo to produce a new version of his Rookie card. Fleer issued an Ultra Gold Medallion version of a Ryan card. Upper Deck continued with its metallic design for a Ryan card. The Pinnacle card featured a Nolan Ryan painting and Donruss produced a Tribute card.
1997 All Star FanFest Set – Jackie Robinson
With the All Star Game 1997 marking the 50th year of his major league debut, Jackie Robinson was the correct selection for the player subject for the 1997 set.
Topps released a reprint of his 1952 card with a All Star logo on the front and his complete major league batting record on the back. Leaf distributed a reprint of Jackie’s 1948 “rookie” card with small All Star Game logo in the upper right-hand corner. Fleer choose a nice posed photo of Jackie looking like he is going to tag out the runner for its Ultra card. On the back of its Tribute card, Pinnacle included a great action shot of Robinson coming in head-first at home plate with the catcher about to make a tag. The photo leaves you wondering – Which way did the call go? Upper Deck once again used a metallic design for its Jackie Robinson FanFest card.
Other All Star FanFest Cards
1997 All Star FanFest Larry Doby Cards
Depending on your definition of a complete set, collectors should be aware that Fleer and Pinnacle released Larry Doby cards to coincide with the All Star game being held in Cleveland. Included below are photos of the Fleer Ultra card and the Pinnacle 3-D Denny’s card.
2000 Henry Aaron FanFest Error Card
For some reason Topps decided not to make a reprint of Aaron’s 1954 Rookie card part of the official 2000 All Star FanFest set. Instead, Topps designed a unique card that featured a spectacular color photo of Aaron in a posed batting stance. Topps did however print some of the 1954 Rookie reprints with an All Star Game logo. These Aaron Rookie reprints are considered “error” cards.
Almost all the All Star FanFest sets can be purchased for under $12 on eBay. The exception is the 1994 Roberto Clemente All Star FanFest set. Each manufacturer produced 15,000 cards for the event. Less than 10,000 of each card were distributed at FanFest. The rest of the cards were destroyed. A Clemente set will set you back about $60.
I’ve been looking forward to 2021 Heritage for a couple years now. This is partially because 1972 was the first set which stood out as the oldest cards in my childhood collection, but the main reason is because it’s just an incredibly challenging design to reproduce. Up to 1972, Topps’s designs are pretty restrained. Nothing complex is going on with the fonts and even the colorful sets feature solid blocks of color.
1972 though. Hoo boy. Custom type for the team names. Bright and colorful with different-colored borders. I could see the potential for a major trainwreck and I was split between hoping for such a wreck and hoping that Topps instead got it all right.
The reality of course lies between those two extremes. For the most part 2021 Heritage looks about right and the differences aren’t really worth complaining about. Those differences though are however the kind of thing I happen to find really interesting.
So let’s start out just comparing a bunch of 1972 Topps cards with their 2021 Heritage equivalents. Not a whole lot worth noting. Some color differences but most are really just shifts in darkness. Only the change from magenta to red on the Indians and Cubs cards is particularly noteworthy.*
*Side comment here but I’ve yet to see anyone post a tribute to the Billy Cowan card and that seems a massive missed opportunity. I am however not at all surprised that there’s no tribute to the Billy Martin card.
Zooming in though shows the usual interesting (to me at least) comparisons between printing technology in the 1970s and today. Or in the case with most of the Heritage cards, they show how the design workflow is different.
So let’s look at some details. 1972 on the left, 2021 on the right. I’m not going to look at the pairs in order, instead I’m grouping them based on how they differ colorwise.
Or, as is the case with this first group, how they don’t differ. The red, yellow, and greens are all solid. These all feature 100% yellow ink. The red also features 100% magenta and the green features 100% cyan. The difference in color between the two greens is a reflection of how heavy the cyan ink was printed.
In the borders and text sections you can see how the trapping and registration differs between 1972 and 2021. This is especially obvious on the 1972 red card since the black plate is a bit misregistered and doesn’t cover up the transitions between yellow, orange, and red.
And in the white text on the 2021 green card you can just make out the faint yellow screen that Topps printed to warm up the white card stock.
There’s also some weird stuff on a couple of the 2021 cards—a yellow edge in the S on the yellow card and a white edge between the green solid and black hairline—a which suggests that something else is going on. Since this oddness continues in the other examples I’ll wait until the end to address it.
The oranges are also pretty close. Still 100% yellow but now you can see the magenta screen. 2021 Heritage uses a much much finer line screen which could account for some of the color shifting.* The blues are completely different but we’ll cover those later.
*Also the bottom of the S on the Tigers card is yellow instead of white but I think this is just a mistake.
The oddness in the blacks—both the S and the hairline borders—in the 2021 cards continues here. The edges of the black components of the design just aren’t crisp. This is similar to the black edges in 2020 Heritage but has a very different shape in the way that the edge is screened.
The blue cards show the most-serious changes since they’ve gone from being just cyan ink to being a mix of all the inks. In 1972 the dark blue is 100% cyan and the light blue is like 40% cyan. In 2021 you can see multi-color halftone rosettes.*
*These changes can also be seen in the green and blue details on the Angels cards I showed in the previous orange section.
Nothing new to note in the blacks except that to my eyes the edges on the blue are even rougher.
To the last two pairs. Not much to say about Topps changing pink to red except to wonder if they had the same problem printing magenta-only that they had printing cyan-only and in the same way hat the blue cards ended up being a richer blue, maybe the pinks became more reddish until someone decided they should just be all red.
What’s weirder is that the In Action cards do not feature solid inks and instead the Magenta ink is screened. This is the definitive tell of a computer trying to match a target color instead of printing the input color* but the fact it only appears on this one color mix could just be a fluke.
*Back in the days before computer-generated print screens, it wasn’t just easier to print colors as solids, that was how the entire workflow went. For most things you picked the simple screen mix you wanted and what came off the press is what you got. With computers, the process is reversed. The designer picks the final desired color and then the computer decides what physical screen mix will achieve that.
Instead, I need to point out the difference in the black edges between the “In Action” text and the player name since this highlights how differently Topps created each element
If I had to guess I would say that Topps created the design of this set as continuous-tone artwork instead of linework. Continuous tone art consists of individually colored pixels such as you’d have in photographs or other Photoshop creations. They don’t scale well and the transitions between colors often end up being dithered and fuzzy instead of clean and crisp. Linework is also known as vector graphics and consists of shapes—whether simple like a box or complicated like a font—which the computer draws via a formula. Such shapes can be scaled and maintain crisp edges at multiple sizes.
The edges of the blacks in the team names, as well as the way that the ™ and ® symbols are fuzzy, suggests that Topps produced the borders in Photoshop instead of Illustrator.* This isn’t the way I’d want to design these since the flexibility of linework would allow for much better printing in terms of the crispness of the edges, control of the color, and trapping along the color transitions.
*They also provide an example of one of the first things to look for with counterfeited cards. Those kind of fuzzy edges are an obvious sign that something has been scanned and reprinted.
While I’m pretty sure that Topps produced the artwork using Photoshop, I’m a bit confused at how they created the text in the team names. While the type in the 22 team names that existed in the 1972 set* looks correct, the type in the eight new names** is a disaster.
*There were 24 teams in 1972 but the Expos became the Nationals and the A’s became the Athletics.
**Six expansion teams plus the Nationals and Athletics.
The arch effect in 1972 is simple vertically-arched lettering.* All the vertical lines are supposed to remain vertical and only the horizontals follow the curve. The 1972 font highlights this by having the engraved lines which should all be parallel. None of the eight new team names are able to do this however.
*For you custom card makers out there, in Illustrator, using “Type On Path” with the “skew” option instead of “rainbow” will do this with zero effort. And yes I’m assuming Topps has the font for this.
The least offensive is the Rays where only the stem of the Y really shows how things are going bad. The others have multiple letters (or in the case of the Marlins and Blue Jays, all of the letters) tilted incorrectly. On top of this, some letters—all the Es for example—are bizarrely malformed and there’s also the backwards first A in Diamondbacks to contend with.
This all feels like some one tried to warp things in Photoshop and failed miserably and the end result shows off all the worst things about Heritage. A shame since there’s a lot of good stuff going on otherwise and I do like the 1972 design.
Oh and the postseason card is included here because the choice to mix italics into the arched lettering is such a bad choice that it ends up looking like the same kind of warping weirdness that bedevils the team names.
Moving to the backs. Yes there are legitimate problems with the font size Topps used on some of the cards. But that’s a basic choice (or lack of caring) and isn’t that interesting. What I did find interesting is how Topps is printing the backs using 4-color process instead of just black and orange ink and how the actual paper “color” is now a printed design element.
This faked grey card stock thing is why the back colors are different card-to-card. Keeping that kind of color consistent is really hard. A slight deviation in any one of the ink densities throws the whole color slightly warm or cool.
I scanned these two cards together so that the color differences came form the cards and not my scanning. Zooming in shows no discernible difference in the screening so the final color differences are just printing variations. These zooms also show how all three colors (the only black in appears to be in the text and lines) are also present in the orange portions of the design.
This is something I’m used to on Archives but it’s a bit of a disappointment to see shortcuts like this in Heritage. Especially when it results in visibly highlight printing differences in a stack of cards.
Author’s Note: The SABR Baseball Cards blog is pleased to introduce new SABR member Donna Muscarella, whose interests in baseball, the Negro Leagues, and photography led her to produce a Hinchliffe Stadium baseball card set.
What led to your interest in Hinchliffe Stadium?
I visited the Negro Leagues Baseball Museum during a baseball-themed vacation in 2016. The experience left me feeling a range of emotions—from anger to awe and much in between—but mostly, it left me with a desire to learn more about the Negro Leagues players, owners, and teams.
When the Tip Your Cap campaign associated with the Negro Leagues’ 100th Anniversary started in June 2020, I wanted to have Topps do a small run of twenty custom baseball cards for me. Initially, I planned for the cards to depict me tipping my cap in tribute to the Negro Leagues. That’s a pretty dull card on its own, so I started thinking about places that would complement the theme. With local venues closed, and my feeling uncomfortable traveling during a pandemic, every idea I had about location seemed like nothing more than a pipe dream. I scrapped the plan.
In addition to limited or no access to venues of all kinds, 2020 also brought limited or no access to modern baseball cards (at least, not at prices I felt were reasonable, Project 2020 aside). The lack of product led me to think about other hobby options, and I became enamored with the thought of building a collection of postcards depicting stadiums in which Negro Leagues baseball had been played. The first step in that process was to compose a list of ballparks. Imagine my surprise and jubilation when I discovered that a dedicated Negro Leagues ballpark—not a Major League stadium rented to a Negro League team—was still standing a little more than ten miles from my house!
What made you decide to turn your Hinchliffe photos into a baseball card set?
Once I learned about Hinchliffe, the plan for my Tip Your Cap tribute card was on again. A bigger plan snapped into focus the second Hinchliffe came into sight. There in front of me was a beautiful Larry Doby mural painted on the stadium wall. My vision was to pose in front of the stadium gate, but as soon as I saw the Doby mural, I knew it was the perfect spot for my Tip Your Cap photo. I felt compelled to get that stadium gate onto a card, though. And if I was going to do a card featuring the gate, then why not a small set of cards showcasing Hinchliffe? As I began to walk around the stadium with goosebumps growing on top of goosebumps, I knew it had to be.
Though the write-ups are brief, I learned a lot from the backs of your cards. How much was it a goal of yours to educate collectors?
The idea for the cards was born out of a desire to pay personal tribute to the Negro Leagues during its centennial year and to inspire others to learn more about the Negro Leagues. I was moved by the thought that maybe, just maybe, each person that read the cards might be moved to not only do some research on their own, but also to invite someone else to explore all that the history of the Negro Leagues has to offer. You know, kind of like that shampoo commercial from the 1980s: “I told two friends and they told two friends and so on and so on and…”
The backs of your cards pay homage to 1933 Goudey. What made you choose that style for your card backs?
I thought it would be fun to incorporate some aspects of vintage cards into this set. After all, it showcases a venue that opened to the public in the early 1930s. I chose to model the card backs after the 1933 Goudeys because Hinchliffe Stadium hosted the Colored World Series in 1933. And the rounded font on the card fronts, while not exactly the same, is meant to be reminiscent of the Goudey font. The uncoated front and back surfaces are another vintage attribute I chose.
How did you decide how many cards to include and which cards/pictures to include in your set?
I wanted the card images to tell a story, to give a small sense of what it might have been like to visit Hinchliffe on a game day. The images chosen and the corresponding size of the set grew organically from the elements of the ballpark I was able to photograph from outside the gates that would support that journey.
How did you decide how many sets to make?
Being that I’m a first-time custom-card creator, I wanted to keep the print run small. Fifty was the minimum amount I could order using the card stock I chose, so I went with it. Should there be enough interest in my work, I would consider a larger edition for other sets.
You mentioned that you live very close to Hinchliffe. Do you see yourself traveling someday to other historic baseball sites to take pictures and/or make trading cards?
Absolutely! Incorporating baseball into vacations is a tradition that my parents started, and as a fourth-generation baseball fan, I’ve taken it one step further by building many of my travel plans around baseball. My discovery of Hinchliffe has made me want to incorporate even more exploration of baseball history into my travels.
I can walk down an ordinary New York City street or stroll through a nearby park and want to take photos left and right, but put me in the midst of baseball history with my camera and I’m like a kid in a candy store. It’s a pretty safe bet that more historic baseball sites will be visited and captured through my camera lens.
This Hinchliffe trading card project has been invigorating, and I hope to repeat that feeling by creating and releasing more card sets.
Aside from stadiums or places, what other baseball-themed card sets you hope to make?
I would love to do a set or series of sets that incorporate some of my favorite images of players that I’ve captured over the years. But without licensing from at least the Major League Baseball Players’ Association (and Major and Minor League Baseball if I want to include team names and logos), I can’t release those images in bulk, or even in duplicate. I can, however, use those images in one-of-one pieces of art. I have some ideas for combining my photos of players and stadiums with baseball cards to create unique artwork and plan to begin experimenting with them soon.
My next planned project is a companion set to complement my original Hinchliffe cards. The images included in the initial release were taken with a somewhat photojournalistic approach. I wanted to convey the story of fans arriving to the ballpark (the gate on Card 1), purchasing tickets (the ticket windows on Card 2), heading to the seating bowl (the entry area on Card 3), and sitting down to watch the action (the stands on Card 4). The anticipation contained in those moments are precious.
What I’ve found though, is that there is so much more to Hinchliffe! I’ve begun capturing the character of the ballpark with more of an eye for detail. For example, the sphere-topped flagpoles now sit bare against a blue sky—to think how majestic they looked when serving their purpose on a game day! I don’t know what the final composition of the set will be, but plan for it to once again feature my photography and serve as a vehicle to share information about Hinchliffe and its relationship with the Negro Leagues.
Something that makes your set unique versus what I see from many other independent card producers is that you used photos you took yourself rather than found elsewhere. How long have you been a photographer and what got you started?
My parents tell me I was inquisitive almost from birth, and I am also very sentimental. I believe my love of photography stems from a need to explore and a desire to preserve my discoveries. This idea of exploration can take on many forms—for instance, it may involve visiting a new place or examining a familiar subject with a new perspective. The possibilities are endless, especially with photography.
That said, I’ve enjoyed photography since I was a child. My first camera, a 110 point and shoot, was the bonus I received when opening a new savings account. There were other gift options available, but I wanted that camera! When we’d get photos developed from family vacations, it was always easy to tell which rolls were mine. All you had to do was look for the envelopes full of photos of clouds and flowers and animals and unusual takes on buildings or statues…
Do you have any photography tips for our readers interested in taking their own photos of stadiums or other baseball subjects?
Experiment! Digital photography is extremely conducive to it. You can immediately see your captured image and decide if you like what the image conveys or if adjustments are needed. Play with different vantage points, different use of light and shadow, and different fields of view.
Don’t be afraid to get lost in the details. Search for gems hidden in plain sight. It’s easy to be captivated by the sweeping expanse of a ballpark. There is tons of beauty there, and it is worthy of attention. But there also is beauty to be found in the details! Maybe it’s the scrollwork on the aisle seats or the way the sunset is glowing through the lighting panels mounted on top of the stadium or the way a small portion of the stadium’s exterior appears even more majestic when its backdrop is an azure blue sky.
If photographing a stadium on game day, arrive early and go inside as soon as gates open. Take advantage of location and experience opportunities that may exist only in the first forty-five minutes or so after gates open.
As for equipment, sure it’s nice to have a “fancy” camera. I shoot with a DSLR (currently Nikon D500) and a compact camera (currently Canon PowerShot SX730). But if your phone’s camera is the only camera you own, don’t let that stop you from photographic exploration. If you decide you like the photographic adventure enough to invest in a more advanced camera, do so when your financial means allow. Don’t feel like you need to buy the top of the line camera, or even a camera with interchangeable lenses (DSLR or mirrorless) right away.
What’s involved in turning your images and text into an actual baseball card? What parts were “DIY” and what parts did you use outside resources for?
I designed and composed the cards myself. Aside from image selection, I started my design approach with the back of the cards. I was determined to pay homage to 1933 Goudeys, so I wasn’t starting from scratch with my design template. I needed to find fonts and colors that would evoke a Goudey feel. Since I was printing on white stock (to best preserve image colors), I needed to select not only a color for the lettering, but also a background color that would mimic 1933 cardboard. The most challenging part was fitting all of the information I wanted to include onto the tiny backs of those cards!
For the card fronts, I used desktop publishing software to experiment with different design options and color schemes. My experimentation ended when I found the combination that best complimented all of the images I had chosen and paired well with the flip-side design. Once the layout and content were finalized, I converted the “pages” to press-quality PDFs and gave them to a professional shop for printing.
Besides making your own cards, tell us about your favorite baseball cards, either from when you were a kid or present day.
Dave Winfield’s rookie card (1974 Topps #456) always comes to mind when I am asked about favorite cards. My love of this card has nothing to do with the card’s design. It is based solely on a personal experience involving the card.
One Saturday afternoon sometime in the 1980s, I answered the phone and was surprised to hear my dad’s voice on the other end. He and my mom were at the mall. Of course, back then, calls from public places were usually made using pay phones and weren’t made just to shoot the breeze—a call from a pay phone had a distinct purpose. I couldn’t imagine why my dad would be calling from the mall and hoped that everything was alright.
In a very excited voice, Dad told me that Dave Winfield was at the mall for a free (!) autograph signing for another 45 minutes. He told me to grab a Winfield card and get there fast. So I grabbed my Winfield rookie and headed to the mall while my parents held a place in line.
When we got to the front of the line, Mr. Winfield extended his hand to greet us. I shook his hand first and watched my hand and wrist disappear in his. After he shook hands with my parents, I thanked him for being there and told him I would be honored if he would please sign my copy of his rookie card. As I placed it in front of him, he said, “Are you sure you want me to sign this? It’s going to ruin the card.” I exuberantly responded, “No it won’t, and yes please!” He asked again, “You’re sure?” “Absolutely!” He proceeded to sign the card and handed it back to me. I was beaming.
As I was shaking his hand again and offering my gratitude, my dad said, “Oh no! I just realized what shirt you’re wearing.” Mr. Winfield said, “It’s perfect. It’s a Yankees shirt!” “Yes,” my father responded, “but she’s got someone else’s name and number on her back!” As my father put his hands on my shoulders to turn me around, I let out a mortified “Dad!” as only a teenager could. Mr. Winfield laughed. I explained that if I had taken the time to change my shirt, I might have missed meeting him and apologized for the unintentional disrespect I had shown. He was the perfect gentleman. And so Dave Winfield’s 1974 Topps card will always be special to me.
Don Mattingly’s Topps rookie and the 1971 Topps Thurman Munson are also favorites from my younger years (although the Munson predates the start of my collecting by a few years).
In terms of modern cards, I am a fan in general of Topps Allen & Ginter and Heritage, including Heritage Minors, as well as Topps ProDebut. Stadium Club is another favorite because it features such beautiful photography.
I’d be remiss if I didn’t include some of my favorite artist cards here. Josh Trout’s Jackie Robinson from 2020 Topps Gallery is a beauty, and Efdot’s Mariano Rivera and Blake Jamieson’s Don Mattingly from Project 2020 are also standouts.
I understand you just recently joined SABR. What prompted your decision, and what aspects of membership are you most excited about?
My first non-statistical exposure to SABR came via an event in the late 2000s at the Yogi Berra Museum and Learning Center. I recall fondly the sense of camaraderie amongst the panelists and gallery of attendees. So the first impression was a very good one. Fast-forwarding to 2020, I became more active on social media and found SABR’s contributions from both the master account and several committee accounts to be both interesting and informative.
I am most looking forward to meeting new people through SABR and participating in activities with fellow SABR members. I am also excited about the tremendous amount of knowledge that sits with members of SABR and affording myself of opportunities to learn more about the greatest game ever: baseball.
If our readers want to connect with you, what is the best way they can do that?
I’d love to hear from fellow baseball enthusiasts! For longer inquiries or conversations, please email me at TheLensOfDonnaM@gmail.com. I’m also on Twitter and Instagram: @TheLensOfDonnaM.
I expect fellow author-collector Dylan has really started something with his post on the subject a couple weeks back. The topic is one just begging for the pen of each of our members, even as the idea of choosing “just four?!” often feels impossible.
1934-36 Diamond stars
I’ll lead off with a set that Dylan included on his Mt. Rushmore, the “Diamond Stars” issued by National Chicle from 1934-36. Like Dylan, it’s the look of the cards that hooks me in.
The color palette jumps off the cardboard like ink off a comic book page, but I am also a big fan of the baseball scenes depicted in so many of the card backgrounds. I’ve already written about these scenes coming more from the imaginations of the artists than real life, but for me that’s a feature, not a bug.
From a purely visual standpoint, Diamond Stars is my favorite set of the 1930s and perhaps my favorite set of all-time. Where it falls short with many collectors is in its player selection. Conspicuously absent from the set are Yankee greats Babe Ruth and Lou Gehrig. For the budget set collector, this is yet another bug-turned-feature.
If you’ve read a few of my pieces already, you also know I enjoy sets with some novelty and mystery. Diamond Stars definitely fits the bill, not only for its various quirks but also offers early instances (though by no means the earliest) of “Traded” cards.
If I had to choose one thing I dislike about this set, it’s the repetition of 12 players at the end of the set’s 108-card checklist. Particularly as these final cards are more scarce than the first 96, the duplication introduces disproportionate pain for set collectors forced to pay a premium for cards they already have.
Here is another set I’ve written about quite a bit and the set under whose shadow all other sets of the era reside.
While the set’s iconic status goes hand in hand with its trademark “Big League Chewing Gum” banner along so many of the card bottoms, my favorite cards come from the set’s final three releases (e.g., Morrissey, Root, and Herman above).
Where Diamond Stars lacked Ruth and Gehrig, Goudey brought these players on steroids, combining for six cards across the set’s 240-card checklist. Counting the Napoleon Lajoie card issued the following year, the set includes 66 cards of Hall of Famers and all but two players who competed in the season’s inaugural All-Star Game.
Were I to find fault with this set, it would be in a flaw common to all other baseball sets issued in the United States around this time. The set included players from the National League, American League, Pacific Coast League, International League, Southern Association, and American Association but no players from the Negro National League or other Black baseball leagues.
Kudos to my bud Scott Hodges who is filling some big holes in the 1933 Goudey set and others with his own digital card creations.
I’ve attempted similar in analog fashion though I’ve been less faithful to the history. Here is Buck Leonard on the Grays a year before he joined the team.
I will definitely treat the absence of Black stars as a bug, not a feature, but if there’s a silver lining it’s that there is no chance I could afford a 1933 Goudey Josh Gibson, and its absence from my collection would absolutely torment me daily.
1911 T205 Gold Borders
Like Dylan I had to include a tobacco set on my list. The T206 set, which initially did little for me, has grown on me immensely over the past couple years. Still, it would have to gain a lot more ground to surpass its gilded sequel.
The set features three different designs: one for National Leaguers, one for American Leaguers, and one for Minor Leaguers.
I absolutely love the NL and Minor League designs and am somewhat ho hum about the AL one, so I’m fortunate to be a Brooklyn collector.
As brilliant as the card fronts are, the T205 card backs are not to be ignored. While some feature brief biographies and one of several tobacco brands, others include…stats!
As with the two sets covered thus far, you will not find a single Black player in this set. You might suppose no card set from 1911 included Black athletes, but this was not the case. For example, here is Jack Johnson from the 1911 Turkey Red Cabinets (mostly baseball) set.
Once again then there is the knowledge in collecting T205 that you’re not collecting the very best players of the era. But again, did I mention I was a Brooklyn collector?!
Here’s where it always gets tough. I probably have ten or more sets I’m considering, but the rules are that I can only choose one. Though I love the cardboard of the 1930s (and earlier!) so much, my favorite era of baseball is the early 1950s. Though integration was slow, it was at least happening, and the mix of new talent and old talent was simply off the charts.
That said, the number of baseball card sets that managed to include all the top stars of the period was practically zero. Ted Williams, Joe DiMaggio, and Jackie Robinson in the same (playing era) set? Your choices are already fairly limited:
1947 Bond Bread
1948 Blue Tint
1950 All-Star Pinups
1950 R423 Strip Cards
1952 Berk Ross
Add Stan Musial and Bob Feller and the list shrinks further:
1947 Bond Bread
1950 R423 Strip Cards
1952 Berk Ross
Add Mantle and Mays and the list boils down to one: 1952 Berk Ross.
With a selection of players that also includes Roy Campanella, Yogi Berra, Larry Doby, Duke Snider, Monte Irvin, and an awesome Johnny Mize “in action” card, could this set be the winner?
As much as I love the checklist, the answer has to be no. Most of the images are too dark, too light, or too weird for my taste, and the simple design borders on the boring. Still, what could have been!
The key then is to find a set with beautiful cards and almost all these same players, and–if we add a few more years–Hank Aaron, Roberto Clemente, and Ernie Banks.
As much as it pains me to give up Joe DiMaggio and Stan Musial, it’s hard for me not to land on 1956 Topps. The beautiful portraits, the Kreindleresque action shots, and the awesome cartoon backs offer my favorite overall design of the Golden Age of Baseball, and the absence of Bowman meant nearly every active star was included in the set.
Unlike 1952 Berk Ross, with only 72 cards, 1956 Topps included 342 cards (counting un-numbered checklists), hence was large enough to assign a card to nearly everyone, not just a couple stars per team.
If I have any bitterness toward this set, it’s only the sour grapes of waiting way too long to collect it. If there’s a lesson here, it’s that sometimes to collect your Rushmore you need to…rush more! Luckily, I do have all 24 Brooklyn cards from the set, and hey, did I mention I’m a Brooklyn collector?
How about you? Which vintage (or modern!) sets make your Mt Rushmore? We look forward to your article!
Seventy years of baseball card prose…four cards at a time.
In this installment of my ongoing series, I’ll continue my project in which I examine the baseball card prose for one Detroit Tiger card from each year of the flagship set released by Topps. We’ll learn about writing craft and baseball history, but we may just learn a little about ourselves… Or maybe not. Here we go:
1960 Larry Osbourne #201
Design of the reverse: Reduced stats, cartoon, and prose.
Text (59 words, plus 8 words in captions): Larry showed great promise in his first full seasons of major league ball last year. In April he blasted his initial major league homer to climax a perfect 3 for 3 day against the Orioles. In June his 3 RBI’s helped rout the Red Sox 8-1 and in August he drove in a trio of markers against Kansas City.
Larry’s dad was a major leaguer in 1922 [Larry’s father shows Little Boy Larry how to hold a bat.] The 1950s were a fascinating time. The Cold War was heating up, rock and roll was born, and there were three major leaguers who were nicknamed “Bobo.” Bobo Newsom began his MLB career in 1929 with the Brooklyn Robins and didn’t retire until 1953. That same year, Bobo Holloman enjoyed his only stint in The Show, hurling in 22 games for the Browns. Bobo Newsom was referred to by his nickname in his 1953 card: his only Topps flagship card. Sy Berger and his colleagues, on the other hand, referred to Osborne as Larry in his several Topps releases. The writers of The Sporting News frequently used “Larry (Bobo) Osborne” when detailing the player’s exploits. (He was just “Larry” on May 11, 1955, when the News described how Osborne, then with the Augusta Tigers, sidelined righthander Russ Swingle indefinitely by spiking him “on the ankle.” Swingle’s “gash required 13 stitches.”)
One wonders what the authors thought about the rhetoric of nicknames in those early years. In 1952, anyway, Harold Henry Reese was “Pee Wee” and Harry Lavagetto was “Cookie.” In 1956, “Pee Wee” received quotation marks, and Cookie went back to “Harry” on his 1961 manager card.
Forrest Harrill Burgess’s career spanned all of Topps’s early years, and he was always “Smoky.” Later issues in the 1960s didn’t even include his real name on the back of the card. The issue cuts to the idea of identity formation and the hero worship naturally stoked by baseball cards. “Smoky Burgess” and “Pee Wee Reese” just sound cool. Does “Bobo Osborne” have the same ring? Did Topps use “Larry” because it sounded more traditional? Did Topps just feel that Newsom, a long-time big leaguer, was the only Bobo? (Holloman didn’t receive a Topps card until the 1991 Topps Archives “Cards that Never Were” release. Yes, he was called “Bobo.”)
A nickname lends a kid-friendly familiarity to a ballplayer–think George Herman Ruth–but it can also distance the fan from the player. Do A-Rod’s close friends call him “A-Rod?” I can see starstruck fans greeting Mattingly with a hearty, “Hey! Donnie Baseball!” The proliferation of digital technology makes it easier for fans to see a player’s real personality if he wishes to share it. The cost is a loss of the majestic distance I felt when I ACTUALLY saw Alan Trammell and Lou Whitaker in REAL LIFE and they were ACTUALLY playing baseball IN FRONT OF ME. It’s wonderful to see a video of Trevor Bauer taking his Covid-19 test and eating a healthy lunch before working out on an off day, but does it dull the mystique when I watch him stare down batters on MLB.TV?
There’s another big issue that I need to address with this card and others from 1960 Topps. Punctuation problems! (Don’t worry. I’ll keep it fun.)
There isn’t a single comma in the prose on the reverse of Osborne’s card. (There should be three, along with a couple hyphens.) Many 1960 Topps cards feature “Season’s Highlights” instead of traditional prose; punctuation is easier when you’re writing bullet points. But look at Johnny Callison’s card:
That last bit needs a full stop! Without it, the sentence implies that Callison hit 27 home runs on December 8th. There weren’t even any games that day! Perhaps the Topps staff paid less attention to the sentences on the cards in the years during which they devoted more space to cartoons…
1961 Larry Osbourne #208
Design of the reverse: Full stats, no prose, cartoons Text (16 words in captions): Larry showed great promise in his first full seasons of major league ball last year. In April he blasted his initial major league homer to climax a perfect 3 for 3 day against the Orioles. In June his 3 RBI’s helped rout the Red Sox 8-1 and in August he drove in a trio of markers against Kansas City.
Larry’s dad was a major leaguer in 1922 [Larry’s father shows Little Boy Larry how to hold a bat.]
Speaking of years in which Topps cut down on the copywriting budget… Topps opted to include fuller stat lines, including minor league lines for a player like Osborne. I wish we could still ask Sy Berger, but I wonder if this was indeed done as a cost-cutting measure, or if Topps wanted to build the players’ identities in a different way. Statistics certainly tell a story, just in a different way. A savvy kid could take one glance at Osborne’s stats and see from the man’s .185 batting average why he spent the entire 1960 season in AAA.
I chose to write about two Larry Osborne cards for a couple reasons. First, that’s what’s in the my one-Tiger-for-each-year collection. Second, I love that Topps repeated the same anecdote about Osborne. Larry’s father was Earnest Preston Osborne, nicknamed “Tiny.” (Is “Bobo” better than “Tiny?”)
Tiny pitched from 1922 to 1925 for the Cubs and the Robins. Only 22 years later, his son was in the bigs. Ballplayers have long served as father figures to kids, whether or not the real father figure was around. By emphasizing that Bobo had ostensibly made Tiny proud, a young boy or girl who pulled this card in 1961 might have subconsciously confronted his or her own subconscious desire to please the old man. The cartoons are also part of Topps’s history of highlighting father-son ballplayer duos.
1962 Terry Fox #196
Design of the reverse: Reduced stats, one cartoon, prose
Text (53 words in prose, plus 13 in captions): Terry was considered “just a toss-in” in the deal that sent Frank Bolling to the Braves last winter. Instead, despite some arm trouble, the righthanded bullpen artist developed into a gem as his 1.42 E.R.A. points out. He won 12 games in relief in the P.C.L. in 1960.
TERRY OUTFOXES THE HITTERS
Terry won 21 games with New Iberia in 1955. [From behind the umpire, we see Terry in his follow-through. The ball is halfway to the plate, and the umpire has already extended his right arm into the air.]
Significantly, humor doesn’t seem to have a prominent role in most baseball card prose. I suppose that there are a few jokes here and there, particularly in cartoons, but I’m not sure how often we see an honest-to-goodness pun like “Terry outfoxes the hitters.”
Get it? There you go.
Perhaps the authors don’t want to diminish the players through the use of humor or risk offending the parents of their target audience. (Come to think of it, examining humor in baseball cards would be a fun study.)
If you’ll notice, the events in the prose are out of order. Did the author want to fill up that last line above the stat box? Oh, and that penultimate sentence is missing a comma.
1963 Howie Koplitz #406
Design of the reverse: Full stats, cartoon, some prose.
Text (13 words in prose, plus 10 in captions): The righthanded reliever is still undefeated after 2 seasons in the American League.
Howie was in the Armed Forces for part of ’62. [An annoyed staff sergeant watches Howie go through drills using a baseball bat instead of a rifle. The rifle says, “BANG!”]
Topps always had affection for prospects and rookies. As is the case today, the company was hoping to get in on the ground floor with players who would become the next big thing. (Of course, the money in today’s baseball card ecosystem is completely different…)
The Topps All-Star Rookie designation first appeared on cards in 1961, and Koplitz received the honor on his 1962 rookie card. Unfortunately, the prose on the reverse of Koplitz’s 1963 issue sounds like the kind of statement we might make in a resume: technically accurate, but perhaps overly flattering. It’s absolutely true that Koplitz was undefeated in the American League. On the other hand, he was 5-0 as a starter as well as a righty coming out of the bullpen. Perhaps most importantly, there is precious little room for prose on the reverse of this card. In this way, Topps boosts Koplitz in an efficient manner. The pitcher is undefeated, and if you’re wondering why he’s only pitched in 14 Tiger games over two seasons, well…he was serving our country. I can’t think of a better way to explain a gap in one’s resume!
And perhaps my sense about the scarcity of baseball card humor is slightly off; note the appropriately Bazooka Joe-esque joke. (I love the expression on the annoyed drill instructor’s face.)
The amount of prose may be decreasing, but I’m getting ever more excited as I get closer to that World Champion 1968 team. Next time, I’ll write about a couple of the cogs on that squad and a highly underrated southpaw who was brave enough to strike out the Splendid Splinter the first time they faced each other.
A popular set among collectors, the 1971 Topps baseball card set was truly innovative, offering something a little different on both the front and back sides of the cards. The fronts of the 752-card set—at the time, the biggest ever—featured a black-bordered motif, as exemplified by card No. 100, Pete Rose, and No. 600, Willie Mays.
This was a striking design. But for collectors interested in a card’s condition, the set offered two obvious challenges:
With a black, rather than a white, border, any imperfections on the edges showed up much more clearly than on a traditional white-bordered card
Unless the card was perfectly centered—and good luck finding perfectly-centered cards—there was usually either too much, or too little, of that slim black border on the left or right side of the card
But hey, this was 1971, and who ever thought people would be shelling out big bucks for baseball cards in mint (or near-mint) condition? Give Topps props for changing things up… and that was even more true of their design of the back side of the 1971 set. For the first time since 1962, Topps eschewed the by-now-standard year-by-year stat line for each player, instead providing the numbers for only the previous season, along with the player’s career totals. With more available room, Topps added a headshot of the player. These headshots came in several styles. Sometimes the shot had a little background; like clouds, trees or the stands of a stadium; No. 450, Bob Gibson, is a good example.
The backgrounds could be a little distracting; more effective were headshots with just the sky as a background. A good example is No. 501, Andy Etchebarren, whose “Wolf-man”-inspired eyebrows offer the viewer enough of a distraction.
And finally, some of the “head” shots were exactly that: just the head, ma’am. The results are, well, interesting. To me, the shots of New York mainstays Tommie Agee (No. 310) and Horace Clarke (No. 715), look like a pair of balloons from the Macy’s Thanksgiving Day parade.
Whatever their quality, the headshots on the backs of the 1971 cards let the collector know what the guy looked like… albeit via a small black-and-white shot of lower quality. Still, this gave Topps the freedom to do some experimenting on the card fronts. For the first time, the 1971 set replaced the standard posed shot on the front of many cards with a photo taken from major league game action. Way cool!
It was a nice innovation, and a number of these “player in action” shot are outstanding.
No. 118, Cookie Rojas, turning a double play, is a beauty. I also love the classic pitching motion of No. 520, Tommy John (better known in the Zminda household as “Johnny Tom”).
There are a number of excellent shots of players at bat. The afore-mentioned Andy Etchebarren swinging the bat is very nice, and No. 360, Jim Fregosi, is even better—a stunning action shot in horizontal format.
You can even do “Compare Batting Stances” with the horizontally-oriented cards of the Yankees’ Roy White (card No. 395) and Ron Woods (No. 514). The shots, pretty obviously taken from the same game, both include catcher Duane Josephson of the White Sox. (Pop quiz question: of this trio, who is the only one who does not yet have a SABR bio? Answer at the end of the article.)
However, Topps was brand-new at this action-shot stuff, and sometimes the photos lacked action, or contained needless distractions. Bob Gibson’s card has both problems. His card front shows him just standing on the mound between pitches, with his image dissolving into the crowd in the background. The action shot of No. 513, Nolan Ryan—in his last season with the Mets before being shunted off to Anaheim in a disastrous trade for Fregosi—also has a distraction problem: the pitching motion is nice, but the billboard in the background makes the card look more like an ad for Royal Crown Cola.
Ryan showed up again—this time as a spectator—on the card front of No. 355, Bud Harrelson. There is some nice activity at second base in the shot, with Harrelson tagging an Astro while the ump and the Mets second baseman look on. However, the action is shown from a distance; the foreground includes the back of Ryan’s uniform number as he watches from the mound. A little cropping (as shown below), and this would have been a much better shot, in my opinion.
But overall the action shots worked very well, and proved to be a hit with collectors. Less successful—on both the front and back sides of the cards—was how Topps dealt with the always-tricky issue of players who switched teams after their card photos had been taken. For the airbrushers, the Old English White Sox logo was a particular challenge. Not surprisingly, they had more success with the small black-and-white shots on the backs of the cards. (It’s also likely that some of the shots on the backs of the cards came from other sources for black-and-white headshots, like team media guides.) For Pat Kelly (No. 413) and future Harry Caray whipping boy Tom Egan (No. 537), Topps neatly avoided having to airbrush the cap of the photo on the front by using a shot looking up at the bill of the player’s cap. No logo to mess with!
For Rick Reichardt (among many others), Topps employed the familiar strategy of showing the player capless.
The airbrusher actually did a pretty fair job with the front of John Purdin’s (No. 748) card. As for Don O’Riley (No. 679)… not so much. Even the photo on the back of O’Riley’s card is pretty bad.
Of course, the White Sox were hardly the only challenge to Topps’ airbrushers. In a few cases, late roster moves left Topps with no time to airbrush logos onto either the front or back sides of the cards—resulting in a number of caps with no team logo at all. Jim Qualls (No. 731), forever immortal (and to some, notorious) as the man who ruined Tom Seaver’s 1969 perfect game bid, was dealt from Montreal to Cincinnati so late (March 31) that the back of his card still identifies him as “the Expos’ only switch-hitter.” For me, the red paint job on the on the front of Qualls’ card brought back memories of Holden Caulfield in his red hunting hat.
Marv Staehle (No. 663), signed by the Braves on April 3 after being released by Montreal, wound up looking like the guy who filled your tank at the Sunoco station on Route 23.
By 1971, “Rookie star” Archie Reynolds (No. 664), one of a trio of Reynolds rooks on the same card, had already seen brief action in three major league seasons, and he had been a part of the Angels’ organization since mid-1970. So what’s with that painted-on cap, Arch?
Dick Williams (No. 714) is an even bigger curiosity. Williams was named manager of the Oakland Athletics in late January of 1971, and Topps had time to utilize a non-airbrushed shot of Williams in the familiar white cap worn by A’s managers and coaches on the back of his card. So how did Williams wind up in the goofy green cap on the card front?
One final mystery. Topps had no worries about Hank Aaron (No. 400) changing teams… and surely they had more than a few Aaron images to choose from. Yet they somehow chose to use the same photo—nothing special, to be honest—on both sides of Bad Henry’s card.
Ah, but I protesteth too much; despite the occasional slip-ups, this is a wonderful card set. Both the front and back sides of the cards contain interesting innovations… and while the use of action shots is the primary innovation on the front side of the cards, there are some wonderful posed shots as well. Here are a few of my favorites.
Quiz answer: Ron Woods, who would be traded by the Yankees to the Expos in June of 1971 in exchange for former 1969 Mets hero Ron Swoboda, still awaits a SABR bio.