On his MLB Network program Studio 42, Bob Costas tonight referenced a blog post here from 2009, and asked Tom Seaver if he was aware that I’d found a game-action photograph of Christy Mathewson from the 1911 World Series that showed Mathewson using the exact of drop-and-drive delivery Seaver brought to perfection in the early years of his career in the late ’60s.
Seaver said he’d seen the photo – I was pretty sure he had, since I’d sent a copy to him via a friend shortly after I found it in Cooperstown.
In blog years, a long time has passed since I posted the shots, so here they are again:
That’s Seaver – coincidentally in action against at Shea Stadium the San Francisco Giants in 1975¬† – showing the “drop and drive” that usually left the front of his right knee dirty. There had been a lot of anecdotal evidence that Mathewson, who retired in 1916, had used a similar delivery. But until the kind curators at the Hall photo archive let me look at their collection of glass images from the 1911 World Series, I don’t think anybody had actually seen a game-action image of Mathewson.
The resemblance, as you’ll see, is startling:
It’s the same delivery. In 1911.
Needless to say, I geeked out completely when I saw that photo. I literally thought “Why is there a picture of Tom Seaver pitching in the 1911 World Series?” After I posted the shot in August, 2009, I ran into Bob at Yankee Stadium and he had seen the post and he geeked out completely over it.
Just for the record, there are precious few game-action photos, particularly of pitchers, particularly in post-season action, from before the first World War. This was part of a series of 30 or 40 transparent glass slides, above three by five inches, that had been taken with a special camera for presentation as a slide show at the earlier movie theaters of the time. The Hall has what appears to be a complete set, and it constitutes a treasure trove for historians. You’ve heard of “Home Run” Baker? He got his name not for volume of homers, but for consecutive game-winning blasts off Mathewson and his fellow future Hall of Famer Rube Marquard in the ’11 Series. The slides include images of Baker rounding third on one of the homers.
I’m not going to say there isn’t another game-action photo of Mathewson anywhere else (and I’m not counting all the posed and/or warm-up shots that show Matty fully upright or just soft tossing). I’m just saying I’d never seen one before this image, and I don’t recall anybody reporting having seen another.
The 1911 photo series had been lost to historians because when it was donated to the hall in the mid 1960’s, the individual slides were divvied up and put, one by one, into the individual files of the players depicted. Only around 2009 was a search made for the whole set (you can imagine how long that took). This is what the Mathewson photo looked like – exactly as movie-goers would have seen it in October or November, 1911:
This is magnificent for several reasons – not the least of which is the extraordinarily low mound (which makes you appreciate Mathewson’s 373 career wins (plus five more in World Series action). But principally because that which historians thought really hadn’t become the standard for the “power pitcher” until the ’40s or ’50s, was in Mathewson’s repertoire a century ago.
Hank Aaron’s appearance this week on The Late Show With David Letterman not only brought as hearty a series of laughs from baseball’s real all-time homer champ as I’ve ever heard him produce, but it also added one of those delightful footnotes to history. Letterman claimed that the day Aaron homered off Jack Billingham of the Reds to tie Babe Ruth’s mark of 714 at Riverfront Stadium in 1974, he was in the crowd. There’s no reason to doubt it: that was the year between Letterman’s career as a tv weatherman and the start of his comedy writing and performing.
Hank was there to provide the briefest of plugs for Topps’ celebration of its 60th year in baseball cards (he presented Letterman with a one-of-a-kind card in the style of the 2011 set, complete with a diamond in it – 60th being the ‘Diamond Anniversary’). For the sake of disclosure, Topps is paying Mr. Aaron to do the publicity, and for the sake of further disclosure, I’m an unpaid consultant for Topps as well.
They did not discuss two of Aaron’s more interesting cards. Obviously the portrait on the 1956 card here is the young Henry. But who is that sliding into the plate, an “M” on his cap and nothing on his uniform?
Correct. It’s Willie Mays sliding home, his uniform doctored to kind of look like a Braves’ jersey. There’s no special value to that mistake, because they never corrected it. In fact I don’t know if it’s considered a mistake – I think “fudge” is a better term.
The “Lefty Gibson” card is seldom seen and thus reproduced here in full:
If you can imagine this, Topps prepped its first series of 1968 cards in the winter of ’67-68 and not only did Gibson succeed in this stunt, but so did Seaver, who had tried it while posing for his very first card.
Each got all the way to the printer’s proofs level – just a handful of sheets printed. Then the Topps Copy Editor had his apoplectic attack and replaced both the Gibson and Seaver lefthanded pitching poses with nice tight portraits.
For years Topps has taken the rap for the mistake – there have even been understandable suggestions of an ethnic slur implied by the screw-up. In fact, it wasn’t entirely the company’s fault. In the winter of 1967-68, the newly-powerful Baseball Players Association was squeezing Topps into dealing with it, rather than on a player-by-player basis. Topps, which theretofore had been able to sign guys for a down payment as low as a dollar, resisted. The MLBPA promptly forbade its members for posing for Topps during Spring Training, and in fact throughout the entire regular season, of 1968.
Thus, guys who changed teams in ’68 or the ’68-69 off-season are shown hatless in old photographs in the first few series of the 1969 set. But 1968’s rookies for whom Topps had no photo? It had to get them in the minor leagues (the Topps files were filled with photos of nearly every Triple-A player in 1968), or buy shots from outside suppliers. At least a dozen images in the ’69 set, including Reggie Jackson and Earl Weaver – and “Aurelio Rodriguez” – were purchased from the files of the famous Chicago photographer George Brace. Somebody at Topps should’ve known, but the original Rodriguez/Garcia goof appears to have been Brace’s.
Incidentally, eight years later Garcia got his own card under his own name, in the Cramer Sports Pacific Coast League Series. By this point he was the trainer of the Angels’ AAA team in Salt Lake City. The biography on the back makes reference to the 1969 Topps/Brace slipup.
How many teams can see their ace carry a no-hitter into the 8th and still create a handful of controversies out of it?
For more than 25 years, Dan Patrick and I have had the same debate.
Last month I introduced you to Wilbur Huckle, the latest apparent inductee into a very unfortunate, star-crossed club: guys who were on big league rosters, eligible to play in big league games – and never did.
HUCKLE CALLED UP TO VARSITY†
San Antonio’s Wilbur Huckle, who was named the all-star shortstop in the Class A Carolina League, has joined Casey Stengel’s Mets.
Huckle flew from Raleigh to New York Tuesday to join the parent club. “He didn’t know whether the Mets planned to play him any, or whether they just wanted him to work out with the club a few days,” his father, Allen Huckle said Wednesday. “We’ve been hoping to see his name in a box score.”
Wow. That last line – given that they never would, is particularly poignant.