Culture
A guide to Christmas-themed trading cards: From Santa Claus to Clark Griswold
Sports stars, celebrities, and even cryptocurrency all have rookie cards… but does Santa Claus? It’s a question you may ask yourself after consuming a little too much nutmeg. And since the season of giving is officially here, I want to spread some holiday cheer by highlighting Christmas-themed trading cards, which is a bigger niche than you may realize.
So let’s dive into a fun corner of the trading card world, one dominated by the GOAT of gift giving himself: Old St. Nick.
A brief history of Santa Claus trading cards
An 1891 Woolson Spice card. (Photo: eBay)
There isn’t a concrete origin story of Santa Claus trading cards, but some of the first examples in the United States date back to the late 1800s. Ohio-based company Woolson Spice created several artistic Christmas trading cards featuring Santa sitting around the tree with children or on his sleigh. Woolson Spice used the back of the cards to advertise its products, such as Lion Coffee.
There technically isn’t a card from the 19th century that’s coined as Santa’s “true” rookie card among the collecting community, but one of his most known from the time can be found in the 1890 Duke Holidays set. The popular tobacco company produced a 50-card set featuring three Christmas cards, but only the U.S. variation included Santa Claus. According to Professional Sports Authenticators’ (PSA) graded population report, the company has authenticated less than 15 copies. An example of the card is even in the Metropolitan Museum of Art’s collection.
1890 Duke Holidays Christmas, U.S. card. (Photo: Metropolitan Museum of Art)
It’s fascinating to see Santa Claus’ evolution from how he was depicted back then compared to today. Many early picture cards showed a thinner-looking version, sometimes dressed in a green or brown suit. It was Coca-Cola’s advertisements starting in the early 1930s that cemented the image of Santa Claus that we have today (although it was political cartoonist Thomas Nast who originated it in the 1860s). And yes, there are trading cards featuring those old Coke ads that were made in the 1990s.
In the late 1980s, the sports card industry exploded in popularity and began producing more and more sets. One of the first Santa Claus cards that caught the attention of modern collectors is the iconic 1989 Pro Set Football card. The promotional card was given to card shop owners and dealers during the holidays and could not be pulled out of packs, which heightened demand for it.
1989 Pro Set promo card. (Photo: eBay)
The front of the card lists Santa Claus as a “player-coach” and depicts him wearing a baseball cap bearing his own name and a red satin jacket emblazoned with the NFL logo. Inexplicably, he is holding up the very same trading card that he is on, creating a mind-bending card-ception loop. Behind Santa Claus, through a snow-covered window are two Pro Set executives dressed as elves (Leaf remade this card in 2021 with a selection of notable figures ranging from Donald Trump to Pele there instead, which can complicate searches for the more valuable original). The back of the card features Santa Claus’ vital info and a scouting report.
It was such a hit that Pro Set began putting Santa Claus cards into its sets starting in 1990. All of those were printed in far higher quantities, making them easy to obtain today, but the ‘89 card is still highly sought after, with “gem mint” PSA 10 graded copies selling for around $500 to $750.
As the sports card industry continued to innovate in the 1990s, it opened up new opportunities to celebrate the holidays through autograph and memorabilia cards. One of the first autographed cards of Santa Claus can be found in 1991’s Pro Line Portraits with the rarest version limited to 200 copies.
In 1998, Upper Deck produced an oversized Kris Kringle promo card featuring a velvety red piece of “holiday-worn jersey” that was exclusive to the company’s Collector’s Club members. The card can be found on eBay for around $20.
In 2007, Topps created the most comprehensive offering yet, with a special Santa Claus Holiday Set that contains 18 cards, all featuring versions of Santa Claus on Topps’ most popular designs of all time, including a Kris Kringle relic card, an autograph card, and a rookie card that pays homage to Mickey Mantle’s famous 1952 Topps card. Instead of being a “Topps Certified Autograph,” the signed card in this set is a “Topps Santafied Autograph,” with the back of the card insisting, “Santa himself signed this card with the very pen he uses to make his list of all the naughty and nice children around the world.” The back of the relic card, bearing a piece of Santa’s suit, says, “Topps acquired this suit from Santa himself, who requested it be spread as far and as wide as possible so everyone could have a piece of his holiday spirit to cherish and revisit whenever they wish.”
2007 Topps Holiday Set. (Photo: eBay)
In recent years, Topps has produced more Santa Claus autograph and relic cards for its holiday baseball sets (more on those in a minute), but the disclosures have gotten decidedly less whimsical. “The relic on this card is not from anything at all,” says the back of a 2019 offering.
Over the last decade or so, the hobby’s annual holiday set releases have produced more Santa Claus trading cards than ever before. In the most recent Topps Holiday set releases, collectors can pull rare chase cards of other classic North Pole characters such as Mrs. Claus, Frosty the Snowman, the Gingerbread Man, and more.
Holiday-themed sports sets
The sports card industry offers a few holiday-themed sets that bring a seasonal vibe to collecting with unique player-worn holiday sweater cards and festive super short print variations.
The main baseball card release centered around this festive time of the year is Topps Holiday. First produced in 2016, the set has holiday-inspired designs of the MLB’s rookies and stars where you can find hidden elves, snowflakes, and Christmas lights on cards. Collectors can pull autograph cards, player-worn Christmas hat relics, and those aforementioned rare relic/auto cards of Santa Claus. Topps Holiday sets are retail exclusives that can be found online and in stores like Target and Walmart.
2024 Topps Holiday Bobby Witt, Jr. image variation. (Photo: eBay)
A few years after the first Topps Holiday release, Panini, which produces NFL and NBA licensed trading cards, began offering Hoops Basketball and Donruss Football holiday-themed sets that have also become popular with collectors. In 2022 Donruss Football, Panini released a visually stunning Santa Claus Downtown insert. The ultra-rare case hit (there has traditionally been only one Downtown insert per every couple hundred packs) is still in massive demand, with PSA 10 copies selling for more than $1,500. The one-of-a-kind Clearly Donruss Holo parallel of this card sold for $3,234.71 in June of this year — a record high for a Santa Claus card, according to CardLadder’s database, which tracks card sales across major online marketplaces.
I would consider these products to be more collector-focused, with less monetary value on average than many other sets, but they offer plenty of chase cards and autograph relics of top rookies and stars that can still fetch hundreds of dollars. PSA 10 Topps Holiday base rookie cards of superstars like Aaron Judge and Shohei Ohtani sell for north of $100.
Classic holiday movie trading cards
This Peter Billingsley autographed A Christmas Story card sold for $750. (Photo: eBay)
One of my favorite holiday traditions is to sit back with a glass of eggnog and watch Christmas movies — a genre that is also making its way into trading card forms now. This year, actor Chevy Chase released a Christmas Vacation 35th Anniversary Box Set that offers signed cards of the Griswold family and personally used Chevy Chase relic cards. The limited edition release of 300 boxes quickly sold out, but a few have made it to eBay.
Cryptozoic Entertainment and Marquee Trading Cards recently put out a similar set based on the beloved holiday movie “A Christmas Story” to celebrate the 40th anniversary of the film’s release. Collectors have the chance to pull single and dual autograph cards signed by the cast, hand-drawn sketch cards, and serial-numbered chase cards. Sealed boxes are available on eBay for around $130 and a 1/1 Peter Billingsley (Ralphie) autograph card inscribed “I want a Red Ryder!” has already been pulled from a pack and sold for a penny shy of $1,000.
Billingsley also signed cards for Leaf, some with an “Oh fudge” inscription that are being sold for $99 each — exactly what someone might say after their loved ones find out they spent $99 on a Ralphie autographed card.
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(Top photo: Stephen Pond/Getty Images)
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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