Baseball, with Jackie Robinson Commemorative Stamp
cork (overall material)
yarn (overall material)
leather (overall material)
overall: 3 in; 7.62 cm
Autographed baseball affixed with a Jackie Robinson commemorative stamp and 1984 postmark from Cooperstown, New York. The ball has been signed by a number of former Major League Ballplayers, including Carl Erskine; George Kell; Erne Banks; Joe Sewell; Pee Wee Reese; Lefty Gomez.
Stan Musial (b. 1920) played for the St. Louis Cardinals from 1941-1963. In that time he was a three time most valuable player, and finished his career with 3, 630 hits. The 24 time All-Star outfielder known as "The Man" won three World Series Championships with the Cardinals to go along with seven batting titles and a career .331 batting average. In 2011 he was awarded the Presidential Medal of Freedom by President Barack Obama.
Baseball, signed by Louis Gossett and Satchell Paige
horsehide (overall material)
cork (overall material)
yarn (overall material)
Baseball signed by actor Louis Gossett Jr. (b.1936) and former Negro and Major League pitcher Satchel Paige (1906-19182). The ball was signed at the filming of the television movie "Don't Look Back: The Story of Leroy 'Satchel' Paige," released in 1981. In the film, Gosset portrayed the baseball legend.
Baseball signed by the 1953 New York Giants. That season, the Giants finished at 70-84, 5th in the National League.
Autographs include Leo Durocher; Whitey Lockman; Davey Williams; Al Dark; Hank Thompson; Don Mueller; Bobby Thomson; Monte Irvin; Wes Westrum; Daryl Spencer; Bobby Hofman; Dusty Rhodes; Tookie Gilbert; Rubén Gómez; Jim Hearn; Larry Jansen; Hoyt Wilhelm; Sal Maglie; Dave Koslo; Al Corwin; Al Worthington.
Autographed baseball signed by the members of the 1975 Montreal Expos. That year the Expos went 75-87, finishing 5th in the National League East.
Autographs include Chuck Taylor; Don DeMola; Jose Morales; Woodie Fryman; Pete Mackanin; Steve Rogers; John Montague; Steve Renko; Bob Bailey; Gary Carter; Mike Jorgenson; Dennis Blair; Pepe Mangual; Larry Parrish; Dale Murray; Larry Biittner; Pat Scanlon.
Oblong, with curved sides, slightly concave lid, slightly convex bottom, featuring large reserve with ragged edges, in the center of which is etched a baseball player at bat, a fence and tree in background. Lid features similar reserve with ragged edges in which is a baseball bat and ball. The reverse features a woven or mesh-like decoration with wavy lines and irregular reserve, in which is inscribed the name J.H. Eustace. Lid hinged on side. Striker on bottom.
Anadarko, Caddo County, Oklahoma, United States, North America
BASEBALL TYPE WITH BILL, MESH BACK, ADJUSTABLE FIT. COLORS: RED AND WHITE. "APACHE TRIBE OF OKLAHOMA, ANADARKO, OK" AND TRIBAL EMBLEM SILKSCREENED IN BLUE ON FRONT. TAG SEWN IN STATES "SPEEDWAY, ONE SIZE FITS ALL, MADE IN CHINA". PURCHASED FROM KIOWA APACHE CONVENIENCE STORE. MADE FOR SALE. NEW WHEN COLLECTED.
Tintype studio portrait of a man dressed as a baseball player and holding a bat by a balustrade; mounted in a paper mat.
The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the process in 1856 to the present. ‘Tintype’ was coined and became the favored name.
Tintypes in the PHC are found in albums, the Kaynor Union Case collection and as individual photographs. The original tintype process patent was assigned to William and Peter Neff in 1856. William Neff died a short time later, but his son Peter, who named the process Melainotype, continued on with his work. The earliest tintypes in the PHC are a group of more than thirty Peter Neff Melainotypes, some of which date back to 1856 and contain notes written by Peter Neff. Shortly after the Melainotype, Victor Griswold introduced a very similar process on thinner, lighter iron plates and called them Ferrotypes. The PHC has tintypes ranging from rare large images between 5”x7” and 10”x12”down to small images cut to 6mm diameter to fit jewelry. The Melainotypes are between 1/6 plate and 4”x5” in size and many have indistinct images. There are also unexposed Melainotype plates including a pack of 1/6 plates and large whole-plates with four decorated oval borders that were designed to be cut into smaller quarter plates after exposure.
The great majority of tintype photographs are studio portraits, including the very popular ‘Gem’ size (about ¾” x 1”). Almost every gem tintype in the PHC is an individual head and shoulders portraits, the only exceptions seen being a full length portrait and a head and shoulders portrait of a couple. Most of these gem portraits are in small gem albums designed to hold two to six gems per page. However, several gems are mounted on cartes-de-visite (CDV) size cards and set in specifically designed album pages. Some of these CDV mounted gems are in elaborate miniature frames attached to the card. The tintypes larger than gem size show a greater variety of subject matter, but still with a main focus on individual portraits, this is especially true of the smaller 1/16 and 1/9 plate images. Outdoor tintypes are rare. Of the few in the PHC, the most common outdoor subjects noted are people standing in front of their homes and photographs of people proudly standing with, or sitting on, their horse or horses and buggy. One of the largest tintypes is a 9”x 7” outdoor view of a row of townhouses with a couple standing on one of the balconies. There is also an outdoor tintype of men fishing along with another of their days catch.
One common subject in tintype photography, as noted in text books, is the civil war soldier. The durability of the tintype meant that photographs taken in the field could be sent home. However, this category of tintype is not well represented in the PHC, with less than thirty noted due to the fact that the majority of the Smithsonian’s Civil War tintypes are located mainly in the Military History Collection. Most of the PHC examples of Civil War tintypes are in the Kaynor collection of cased images.
A few of the tintypes in the PHC are hand colored. This coloring varies from light tinting of faces and hands to heavy overpainting that obscures the underlying tintype image. A number of the tintypes (about 30) depict people with the apparatus of their occupations. Some are posed studio shots and others appear to be photographs of people at their place of work. Among the occupational views are images of a doctor, grocery deliveryman, weavers, fireman, ice delivery man, craftsman, cobbler, shoe shiners, mail carrier, surveyor, pipe liners and other tintypes of people wearing work clothes and posing with tools. These include a unique full-length gem tintype of a man in work apron with a saw.
Howard University's Dentists' Baseball Team [photonegative and three prints, ca. 1928-1945]
Scurlock, Addison N. 1883-1964
Negative: Silver gelatin on cellulose acetate film sheet, 8 x 10 in
Prints: Silver gelatin on paper, unmounted
Negative: From negative Box B. "Eastman -- Safety -- Kodak" imprint on film edge. No ink markings. 1928 date from Corcoran exhibition catalog, 1945 from print.
Prints: One marked "Dentists [sic] baseball team at / Griffith Stadium ca. 1945", another "A142 / Dentists baseball team at old Griffith Stadium 7th & Fla. Av. / photo by Addison N. Scurlock"; the third "Robert Freeman Dental Society Baseball Team".
Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History
Beige and blue baseball cap with words "Sports Night" embroidered on the front of the cap and a metal clasp for adjusting the size in back. "Sports Night" is a television series created by Aaron Sorkin, which featured Robert Guillaume as Isaac Jaffe, the managing editor of the fictional sports show with the title name.
This child-sized baseball bat belonged to Dr. Sally K. Ride. Her maternal grandfather, Anders Anderson, made it to teach her how to swing and hit the ball when she was about seven years old. From a young age, Ride was athletic and passionate about sports. Her sister, Karen "Bear" Ride, believed that Ride's habit of memorizing and analyzing batting averages and pitching statistics bolstered her early interest in mathematics. Ride soon focused her attention on tennis, and as a college student she was a nationally ranked tennis player.
Sally Ride became the first American woman in space when she flew on the STS-7 shuttle mission in 1983. Her second and last space mission was STS-41G in 1984. A physicist with a Ph.D., she joined the astronaut corps in 1978 in the first class of astronauts recruited specifically for the Space Shuttle Program. Viewed as a leader in the NASA community, she served on the Rogers Commission after the Challenger accident in 1986 and the Columbia Accident Investigation Board in 2003. She also led the task force that produced a visionary strategic planning report in 1987, titled “NASA Leadership and America’s Future in Space” but known popularly as the "Ride Report."
After she left NASA in 1987, Dr. Ride taught first at Stanford and later at the University of California, San Diego, where she also served as the director of the California Space Institute. Until her death in 2012, she was president and CEO of Sally Ride Science, a company she founded to promote science education.
Dr. Ride’s partner, Dr. Tam O’Shaughnessy, donated the baseball bat to the Museum in 2013.
Gift of Tam O'Shaughnessy
Do not reproduce without permission from the Smithsonian Institution, National Air and Space Museum
overall: 6 in x 7 in x 11 in; 15.24 cm x 17.78 cm x 27.94 cm
overall: 6 in x 8 in x 10 in; 15.24 cm x 20.32 cm x 25.4 cm
This maroon fabric baseball-style cap has a white embroidered Egyptian symbol image on front and embroidered text “Universal Zulu Nation” on the side. It was available through the Universal Zulu Nation company created by hip hop artist Afrika Bambaata (b. 1957).
Afrika Bambaata (born Kevin Donovan), an American DJ from the Bronx, was influential in the early development of hip hop and is regarded as the “Godfather” of hip hop culture. He has been instrumental in spreading hip hop music and culture around the world, as well as creating opportunities and helping to improve the lives of others in the hip hop community through his organization "Universal Zulu Nation." In 1990, Bambaataa made Life magazine's "Most Important Americans of the 20th Century" issue.
Currently not on view
Highlights from the Culture and the Arts Collection