Category Archives: Vintage Baseball Photos
The Chevrons and Diamonds vintage and antique photo archive has grown over the past decade. While in our estimation, it is far from complete and there are always “new” prints and transparencies to add that further enhance the collection while providing incredible visual glimpses into the military game, its people and the locations. Despite the size and scope of the collection, it seems that we can frequently source a new image that adds previously unseen perspectives.
Regardless of the sphere of collecting around which a given collector orbits, one of the most common challenges to understand lies within the realm of terminology. Photography collecting has its own set of terms that folks apply as they attempt to classify images causing a considerable confusion. Even with those regarded as experts, terminology can and often does encroach upon the realm of perspective rather than to classify unique, yet related classifications. Many colleagues who have only recently become interested in the area of vintage photography collecting may interchange terminology that sound similar but truly have different and specific meanings and usage.
Perhaps the majority of confusion with collecting vintage baseball photography lies within the realm of photographs that were created and used within the printed periodical arena. As press technology advanced in the first part of the Twentieth Century, the shift from illustrations (by way of woodcuts and other printing techniques) to photographs was a rapid transition. The preeminent sports photographers in this period were George Grantham Bain, George Burke and Charles Conlon. Bain’s career began with the United Press but he established his own business (Bain News Service) that sold his photos to all media outlets in the New York area. Chicago’s George Burke also established himself both as a syndicated photographer and by selling his baseball image reprints to baseball fans seeking images of their favorite players. Conlon is perhaps the most well-known baseball photographer of these early years. Working as an editor for the Sporting News, he was an amateur photog who packed his equipment to the ballparks, capturing some of the most iconic images in the game’s history. Newspaper editors took note of the images being captured by Conlon, Bain and Burke and began to add photographers to their news desk staff.
The demand for baseball photographs across the breadth of the United States and Canada for newspaper publication was rapid and increasing. Americans in cities and towns far removed from the majors and minor leagues were soon seeing photos in their sports sections of Ty Cobb, Christy Mathewson, Warren Johnson, Tris Speaker and Cy Young and others though due to the distances away from those games, the depictions could be as old as a week following the games. These photographs, known to collectors as Press Photos (or News Photos) were darkroom-printed enlargements that were marked and distributed through manual means (U.S. Mail, air parcel or hand-carried) to hundreds of newspaper destinations.
Demand for near-real-time images created necessity which in turn led to inventiveness. Though facsimile technology had been advancing since the early-mid-1840s when Alexander Bain (no relation to the aforementioned George) developed the first facsimile machine, it took more than 70 years before the first image was transmitted using the technology. In 1921, Western Union transmitted its first halftone photograph across the telephone and telegraph lines followed by AT&T in 1924. RCA transmitted a photograph (wirelessly) over the air (known as a Radiophoto) in 1926.
In the present-day digital age of in-home wireless networks, “smart” phones and digital cameras, it is almost inconceivable that the instant gratification of sharing a photograph was a multi-step process a little more than two decades ago. Processing an image captured on film could be done in an hour followed by scanning (digitizing) the print or negative to create an electronic file that could then be disseminated required significant effort and, by present standards, time. However, On January 1, 1935 when the Associated Press successfully transmitted an aerial photograph of an airplane crash site in upstate New York, a standard for rapid news photography dissemination was established along with the creation of the trademarked AP Wirephoto (for a detailed explanation of the technology, watch the 1937 film, Wire Photo Technology: “Spot News”, below).
Wire Photo Technology: “Spot News” 1937 GM
For collectors of vintage sports photographs, transmitted photos are considerably less desirable (and in turn, garner a lower financial investment to acquire) than an original type-1 press photo due to a number of reasons.
- Abundant copies. With the advent of wire technology, copies of a transmitted photo are so numerous by comparison to the numbers of press photo copies.
- Low image resolution and reduced quality. The wire technology used to transmit the data poses a considerable reduction to the image clarity giving the photographs a somewhat foggy appearance.
- Muddy appearance. Aside from a loss of image clarity from the original photograph during the scanning and transmission, wire photos suffer from a reduction of contrast. A side-by-side comparison (original and transmitted photos) reveal the significant difference between the two with the wire image having an abundance of gray tones rather than distinct whites and blacks.
Since the Associated Press trademarked their transmitted photos as AP Wirephoto, their competitors followed suit. The ACME Newspictures (also known as ACME News Photos) which operated from 1923 to 1952, comparable product, ACME Telephoto. The United Press Associations (more widely known as the United Press) which operated from 1907 to 2000, had a similarly named product, United Press Telephoto. Though each of the three organizations used proprietary technology, the resulting photos transmitted are virtually indistinguishable to the naked eye.
AP Wirephoto, ACME Telephoto and UP Telephotos are usually back-marked with their trademarks along with captions, source, dates and other back markings common with newspaper-used photos. Earlier images (1940s or earlier) more commonly have paper captions affixed to the backs similar to press photos. The later years, these photos will have captions printed directly onto the margin of the photograph face.
Wirephotos and Telephotos can be good additions to a photo collection especially in the absence of locating an original or press photo when the subject matter is of particular interest.
When I first saw the photograph, I was struck by what was visible in the image. The stadium’s grandstands appeared to be a modern concrete facility with an unorthodox seating configuration. The absence of a true baseball park layout that also lacked traditional dugouts and caused me to take a closer look. In viewing the image (along with the corresponding caption and clipping) what I discovered quite surprisingly, was that the photo provided a rare glimpse of a rather noteworthy service team baseball game that was the culmination of one man’s monumental organizational efforts.
There have been countless pioneers in the game of baseball throughout its existence though most are relatively unknown in American culture. Apart from cultural icons who forged through some of the most arduous and challenging of circumstances like Jackie Robinson and Branch Rickey, Americans (who are not ardent fans of the game) might offer stone-faced empty stares if asked to name another pioneer of the game. Curt Flood might come to mind for those who understand the business side of baseball regarding the Reserve Clause and Free Agency. Perhaps one might mention Bill Veeck and his trend-bucking game-promotion wizardry throughout his tenure as an executive and team owner (and who was threatening to break the color barrier by buying the ailing Phillies and field an entire roster of former Negro League players)?
One of the earliest World War II ground offensives that the United States armed forces participated in was launched in early November of 1942 with an amphibious assault onto the shores of Northern Africa with the goal of unseating the entrenched Axis troops that had occupied the region since the previous year. The invasion was a large-scale operation that included Allied naval and ground forces from Great Britain (including Australia and Canada), Free France, the Netherlands and the United States. Following the initial push of Operation Torch (November 8-16), the Axis powers put up a strong and costly defense that finally succumbed to the Allies in the Spring of 1943. Included among the American troops that were killed (totaling 526) during the campaign, baseball lost four of its own; Simeon A. “Alex” Box, Joe C. Byrd, Jr., Andrew D. Curlee, Jr. and John C. Eggleton. Baseball saw one of its minor leaguers, Lt. Bobby Byrne Jr., son of former major leaguer (Cardinals, Pirates, Phillies and White Sox) Bobby Byrne, Sr., downed multiple German Messerschmitt fighters as he provided air cover for allied bombers over North Africa. Wounded during the engagements, the younger Bryne was later conferred the Purple Heart and Distinguished Flying Cross medals. Lt. Byrne attained “Ace” status as a U.S. Army Air Forces fighter pilot during WWII and was credited for downing six enemy aircraft.
I first learned about baseball pioneer, Henry John “Zeke” Bonura in a piece authored by Gary Bedingfield that was published in the fantastic book, When Baseball Went to War (edited by Todd Anton and Bill Nowlin) detailing the establishment of a baseball league in North Africa following the Allied victory over the vanquished Germans, Italians and Vichy French in May of 1943. Maintaining troops’ fitness and agility while distracting them from the monotonicity of being an occupying force. Bonura was granted permission to establish fields of play along with organizing more than 1,000 players into six leagues that featured 150 GI teams.
Aside from his organizational skills, the former major league (White Sox, Senators, Giants and Cubs) first baseman (1932-1940) was adept at pressing the flesh from afar, getting the word back to his contacts in in the States regarding the need for equipment and uniforms. With vital resources pouring into supplying and equipping the armed forces for fighting, baseball (and other sporting equipment) was non-essential and was unsupported by tax-payers or war bond-purchasers’ funds.
In his piece, Henry “Zeke” Bonura His Contributions To Wartime Baseball, S. Derby Gislair spotlighted Bonura’s abilities to do what it takes to achieve his goal of bringing the game to the region, “By his resourcefulness, enthusiasm and leadership,” Gislair wrote, “(Bonura) was able to overcome many shortages in needed assistance and construction materials, and he established twenty baseball fields in the area through the use of volunteer assistants and salvaged materials.” The need for equipment was ever-present and “Zeke” tapped on all of his contacts for assistance. “I hear from him and others now in the service, frequently,” stated (in June of 1943) Henry Morrow of the makers of the Louisville Slugger bats, Hillerich & Bradsby (H&B). “Not long ago, I received a letter from Zeke, who is in North Africa. He wanted six bats in his model. The weight limit of packages sent overseas is five pounds. So, I appealed to the Red Cross, and the package of six bats – weighing about 15 pounds – is on the way to Africa,” Morrow concluded. Bonura wrote to his H&B contact, “I am somewhere between the French and the Arabs.”
As the 1943 season progressed throughout the summer of ‘43, Bonura received a visit from the Clown Prince of Baseball, major league pitcher-turned-comedic-entertainer Al Schact. Schact spent his time entertaining troops in North Africa (presumably as he had done around the professional game leading up to WWII at baseball games) and met with Zeke while gaining a better understanding of the need for recreation equipment for the troops. Seizing on the opportunity to help, Schact returned to the states with a motivation to lend a hand having brought back to the states, a captured Nazi helmet from North Africa, which was sold to a Wall Street firm during an auction (Branch Rickey served as the auctioneer), for $150,000 for the bat and ball fund.
Zeke Bonura’s skills of promotion were brought to bear as he promoted the (then) upcoming North African World Series non-stop, using his notoriety to obtain coverage for the games on the Armed Forces Radio Network.
The September, 1943 playoffs narrowed the expansive field to two finalists – the Casablanca Yankees and the Algiers Streetwalkers – met in what became known as the North African World Series. GIs throughout the Mediterranean region were able to tune in via the Armed Forces Radio Network to listen to the play-by-play broadcast of each game.
Playing before stands filled with 4,000 GIs, French and British troops along with local Algerians, the Casablanca Yankees, a team of Army combat medics took the field against the Streetwalkers’ roster that consisted of U.S. Army military policemen (MPs). Taking the mound for the Yankees, former Cleveland Indians southpaw prospect Sergeant Vernon Kohler pitched a 9-0 shutout in the first game. First baseman (and manager), Lieutenant Walt Singer, former left end for the 1935-36 New York Football Giants, provided punch at the plate as he was the Yankees’ most powerful hitter. Singer collected five total hits which included a homerun (in a three-run, bottom of the ninth inning) which proved to be the knockout punch against the Streetwalkers in the deciding 7-6, game-two victory in the best of three series. In the absence of a trophy or championship rings, the victorious Casablanca Yankees were, instead each presented with baseballs signed by the commanding general, Dwight D. Eisenhower.
The North African baseball leagues would continue under the leadership and guidance of Bonura into 1944 despite the exodus of large numbers of servicemen as the battle to liberate Europe from the tyrannical reign of the Third Riech progressed through Italy, France and on towards Germany. The discovery of this lone image from the first game of that 1943 championship series was quite satisfying, despite the significant restoration work required (due to the wartime photo editor’s markings and extensive aging) to make the photograph presentable, here.
Regular readers of Chevrons and Diamonds might be accustomed to terminology that is employed when describing the photographs that are part of our collection – several of which have been published within our articles. It may seem straight-forward to casual collectors but the pursuit of old photos is not as easy as it may appear at the surface. I have been around photography for most of my life with countless hours behind the viewfinder, in the darkroom and in post-processing within the realm of digital imagery. I have experience with photo-duplication (I.e. taking a picture of a picture) in order to create a negative as well as the with the process of creating an inter-negative from a color transparency (color slide) – both practices have been relegated to the artistic end of the photographic practice rather than within the mainstream of photography.
Experience behind the shutter, navigating around in the darkroom and photographic editing does provide me with a measure of knowledge in recognizing certain aspects and details with photographs but extensive time spent with inherited vintage family photographs (ferrotypes, carte de viste, cabinet cards, real photo postcards, contact prints, etc.) throughout my life provided me with an introduction to this sphere of the hobby and led to further research on the older photographic practices and processes that are long-since retired.
Despite my knowledge and experience in this arena, I am far from being a subject matter expert however am fully capable of protecting myself from both over-paying or being taken by unscrupulous or neophytic sellers.
The precipitation for this article stems from the constant dialog among my colleagues surrounding the need to be able to knowledgably navigate the waters of vintage sports (specifically, baseball) photography collecting. With terms bandied about such as “Type-1, Type-2, Press, News, Wire service, Telephoto, etc.” understanding these terms poses as much of a challenge as it is in determining what a prospective vintage photo might be. Education in this area, while not fool-proof, can certainly provide collectors with enough tools to perform enough due diligence to make the right pre-purchase decisions.
The trend for articles published on Chevrons and Diamonds is anything but brevity and due to the significant amount of material that will be covered, the decision has been made to approach the various aspects of this subject through a series of articles.
At the risk of the following being misinterpreted as an outline (the list is merely a guide for what will be discussed in future articles), such focus areas will included covering the differences between professional and amateur photographs:
- Public Relations/Public Affairs images
- Wire service/Telephoto images
- Half-toned images
- Contact prints
When discussing professional photographers, we will spend some time touching upon some of the well-known shutter-snappers such as:
- George Grantham Bain
- Geroge Burke
- George Brace
- Tai Sing Loo
What should collectors look for in analyzing a print? We will discuss some of the basics that contribute to the value of vintage photographs such as:
- Subject of the image.
Terminology is one of the more difficult topics in this arena due to the subjectivity and the randomness with which they are applied by collectors, sellers, graders and auction houses. Without attempting to re-author the terms, we hope to provide some semblance of standardization and meaning to otherwise (seemingly) useless nomenclature.
As the saying was first written, “one picture is worth a thousand words” which for a collector, only means that they are worth even more. The measure of detail that is captured on film (the uniforms, hats, spikes, gloves, location and venue that are depicted within each image is nothing short of treasured.
How does one determine the difference between a professional photograph and of one captured by an amateur?
Learn how to recognize the manner in which professionals capture subjects and how they typically differ from that of a person taking a snapshot. Note where the subject is framed within the boundaries of the visible area; the back and foreground and where your eyes are drawn. A pro photog knows how to compose the image to emphasize what is being captured. Amateurs tend to place subjects dead center and miss the mark on infusing life into the subjects.
This image characteristic dovetails with the composition however this addresses the perspective of the image. In terms of baseball photography, professional photogs have access to areas that present a common vantage point in their image captures. It is normal to see close-up photographs of players on the field, in the dugout or even the clubhouse. Spectators shoot from a distance and elevation (such as from the grandstand) that has an entirely different subject-orientation from that of the professional. With regards to military baseball, amateur photographers could and often do have the same level of access that is typical for a professional.
Pay attention to the lighting of an image and how the photographer uses the light to enhance the subject. Is the subject faint or washed out (over or underexposed)? Are all of the important details distinguishable? Understanding the camera differences, especially within the realm of sports photography, professionals were employing large bodied cameras (such as a Speed Graphic made by Graflex) with “fast” lens that afforded the photographer with the ability to adjust aperture and shutter speeds. Also, the resultant negative (from the exposed and developed film) was substantially larger (4” x 5” or even 5” x 7”) than what was used by the average person.
A substantial portion of the Chevrons and Diamonds archive consists of personally or individually captured images that would be (and in many instances were) mounted on photo album pages. These photographs were typically printed using a contact-print method (the negative was laid directly in contact with the photo paper as it was exposed) producing an image that is the same size as the negative. These prints are most-commonly 2-¼” square, 2-½ x 3-½ or 3-½ x 4-¼ inches. Professional prints are enlargements made from the negative in dimensions of 5 x 7, 7 x 9 or 8 x 10-inches.
Certainly, there are more characteristics that one can employ to distinguish between these images with the most significant one being common sense. Stay tuned for the next segment in this series.
The Dodgers were and still are my all-time favorite baseball team if not of all professional sports. With the Red Sox being a close second to the “Blue Crew,” I experienced a bit of a dream (and nightmare) World Series in 2018 where it was a difficulty for me choose the team that I wanted to win the most between the two clubs as they faced each other in the championship. In 1991 when I made made my first trip to Cooperstown, New York to visit the Baseball Hall of Fame, I was astounded to artifacts from my favorite teams including items from men who played in the first World Series meeting (in 1916) between my two favorite teams. That visit to the Hall of Fame also stirred within me a desire to pursue other facets (besides sports cards) of the collecting hobby, namely autographs.
After visiting the Hall of Fame Museum, I walked around the small village and patronized a small shop that seemed more like an extension of the museum than a store as it was filled with antique baseball memorabilia ranging from autographed baseballs, photographs, bats and other artifacts dating from the 1920s through the 1950s and up to (then) present day. Clearly this business’ clientele was more well-heeled than an active-duty sailor in the U.S. Navy as I could scarcely afford to make a purchase of a baseball artifact. Motivated by the overwhelming inventory of autographed memorabilia, one piece in the store did manage to catch and hold my attention, hatching an idea for me to pursue an area of collecting that I never previously gave much thought. Without any sort of hesitation, I purchased a copy of The Sport Americana Series Baseball Address List by R. J. Smalling and started to make a list of players from the “golden era” of the game that I would target for signatures.
My visit to Cooperstown left a lasting impact on me that punched a few holes in my Dodger-blue colored glasses, leaving me with a significant reduction in my hatred for the Giants. I was able to see beyond the rivalry and recognize the contributions of the players from the game rather than to be limited by the myopia influenced by my passion for a team. This transformation translated into an activity that included writing to veteran players (Hall of Famers, included) and requesting their autographs on various piece that I would send to them. One such player was a big first baseman from Demorest, Georgia (where he was born and raised and returned to after his baseball career ended) who spent his entire career crushing Dodgers (and all other National League) pitching for the St. Louis Cardinals and New York Giants carrying a .324 batting average, an on base percentage of .409 while slugging .588 with and OPS of .997 and almost 300 home runs in ten seasons. His prowess against Brooklyn didn’t cease when he left the National League and donned the pinstripes of the Yankees. Mize faced the Dodgers in 10 World Series games making 23 plate appearances and batted .400 with a .600 slugging percentage and an OBP of .478 and was approaching the end of his career. It goes without mentioning that (as a Dodgers fan) I shouldn’t care for Johnny Mize or his signature.
Mize’s career was one that caught my attention both at the Hall of Fame and as I scoured my copy of the massive Baseball Almanac book (which I still have). What stood out to me among his impressive statistics was the absence of playing time (and stats) from 1943 through 1945. Admittedly, I didn’t know that Mize left his player salary and the life of sport for the uncertainty of life itself in order to don the uniform of the United States Navy. But that is what Mize did in March of 1943 following being notified of a change of status from 3-A (registrant deferred because of hardship to dependents) to 1-A (available for unrestricted military service) – at the time, Mize was the sole provider to one of his aunts however by 1943, the draft boards underwent a change in the way hardships were viewed, especially since fathers (sole providers for their families) were being drafted.
The Giants first baseman was purported to have a blood coagulation issue that precluded him from Army service. Reported by the Sporting News, March 18, 1943, Giants manager, Mel Ott mentioned that “he had heard something about John being listed clinically as a bleeder, “meaning that Mize suffered from a form of hemophilia. Cleared for military service, Johnny Mize’s eligibility was transferred from the Army and he opted to join the Navy. While undergoing basic training, Mize was picked up by the Great Lakes Naval Training Station Bluejackets manager, Lieutenant Mickey Cochrane, the former catcher for the Philadelphia Athletics and Detroit Tigers. By the end of May, 1943, Johnny Mize was appearing in the Bluejackets’ lineup as they competed against regional ball clubs and service teams. Mize remained at Great Lakes and on Cochrane’s Bluejackets roster until being transferred to Naval Training Center Bainbridge (Maryland). While he was playing for the Bainbridge squad, Mize fell ill requiring a break from physical exertion resulting in significant weight-gain during his convalescence. When he returned to duty, Mize was transferred to the West Coast.
In February of 1944, Athletic Specialist 2nd Class Mize departed San Francisco Bay aboard the fleet minelayer, USS Terror (CM-5) and by late Spring, Mize was suiting up for the Naval Air Station Kaneohe Klippers under manager Lieutenant Wes Schulmerich, previously of the Navy Pre-Flight Training program at the University of North Carolina, Chapel Hill (see: Navy Pre-Flight Round-up: The Growth of the Cloudbusters Collection Takes Flight). Though Mize’s impact would be felt, he battled injury for a fair portion of the 1944 season which led to his omission, along with that of the 7th Army Air Force’s Joe DiMaggio, from the Central Pacific All-Stars team due to reduced playing time. Both Mize and DiMaggio joined their respective branch’s All Stars team for the Army-Navy World Series held throughout the Hawaiian Island from September 22 to October 15, 1944 (see: Keeping Score of Major Leaguers Serving in the Pacific and Game 7 – Navy vs Army All-Stars Championship Series, October 1, 1944).
In his first two seasons of service team baseball (with the Bluejackets of Great Lakes and the Klippers), Mize didn’t slack off with his offensive production. In 1944 Mize was limited in his plate appearances at NAS Kaneohe due to a lingering injury.*
In early 1945, LT. Bill Dickey tabbed Mize for duty in the Western Pacific participating with other professional ball players (serving in the Navy) in a goodwill and morale-boosting tour. Servicemen on at Eniwetok, Kwajalein, Saipan, Guam, the Philippines, Admiralty Islands, New Guinea and Peleliu would be able to enjoy games being played between teams from the “Third” and “Fifth” Fleets (see: 1945 3rd Fleet vs 5th Fleet – Pacific Tour). With the main thrust of the Pacific offensive being fought in places such as Iwo Jima, Mize and his teammates found themselves on islands that still had an enemy presence. It was not uncommon for a Japanese sniper round to reach close proximity of a ball field.
Within a few weeks following the unconditional surrender of the Japanese, Mize was making his way back to the United States mainland and would be discharged from active duty in time to make an appearance as a spectator at the 1945 World Series between the Detroit Tigers and Chicago Cubs. It was noted by several reporters, ball players and coaches that Mize had dropped a significant amount of weight and appeared to be in top physical condition. Questioned about his health, Mize recounted his 1945 season of playing baseball five days a week for several months leading up to his separation from the Navy. Mize settled back into the routine of baseball with the Giants for the 1946 season, resuming his Hall of Fame career with a productive season despite his production drop from his 1942 season. In 1947, Mize led the National League in runs scored (137), runs batted in (138) and home runs (51), tying Pittsburgh’s Ralph Kiner. Despite Mize’s offensive prowess, his Giants finished in third place behind St. Louis and 13 games behind the National League Champion Brooklyn Dodgers.
While seated at my desk during a night shift at my last Navy duty station, I finished the letter that I wrote to the retired 80-year-old Hall of Famer, folded it and inserted the self-addressed and stamped envelope along with a few items for Mize to sign. I had no thoughts to the mortality of the immortal greats of the game until a few weeks later I learned that Johnny Mize had passed away and soon after, the envelope that I sent arrived in my mailbox was marked, “return to sender.”
Twenty five years later, I discovered a photo of Mize that, despite several flaws, caught my interest. The image was overexposed (either when the photo was captured or when it was printed in the darkroom) and has a discoloration blemish that is the result of improper darkroom chemical baths (the “stopbath” wasn’t fully removed in the rinse) leaving a residue that resulted in a dark patch on the surface of the print. The photo was captured by George Burke and might have been a cast-off print. Regardless of the condition, Mize, a prolific autograph signer, placed his mark on this vintage photo. It only took me a quarter of a century to finish what I set out to obtain.
About the Johnny Mize artifacts
In addition to the signed photo, the Chevrons and Diamonds Collection has gained other Johnny Mize-related artifacts that include multiple WWII scorecards from games that he played while serving in the U.S. Navy. Also, we acquired three photos of Mize during his time in the Navy starting off with him being fitted for his service uniform (undress blues), a navy-veteran’s snapshot of the slugger in Hawaii in 1944 (see: Matching Faces to Names: Identifying Four 1945 Navy All-Stars) and an official Navy publicity photo that came from the estate of Philadelphia Athletics and WWII Navy infielder, Al Brancato. Two other photographs shown here (copies of the originals) were provided to Chevrons and Diamonds from our collecting colleague, Mark Southerland who obtained the original vintage prints (many of which are signed) as part of a substantial group of photographs from the Bill Dickey estate. Lastly, the photograph of the Navy team posed in front of the B-29 is a Navy Department publicity print.
*Mize’s Navy playing stats compiled and provided by Mr. Harrington “Kit” Crissey