Culture
Babe Ruth's 'called shot' jersey could break auction records. Experts are mixed on its attribution
One day in March 2019, John Robinson, the owner of Resolution Photomatching, received a request from a private sports memorabilia collector in New Jersey. The man hoped that Robinson’s company — one of the leaders in the nascent field of using photographs to authenticate memorabilia — could confirm one of the most precious items in his collection.
The piece in question was a road Yankees jersey said to be worn by Babe Ruth in Game 3 of the 1932 World Series, the day of the Bambino’s “called shot” against the Cubs at Wrigley Field.
According to Robinson, the company conducted its standard three-round research process and came away with a verdict: Per their standards, it was not a match.
The story of Ruth’s “called shot” — and the decades of debate it inspired — remains one of the most famous moments in baseball history. But the tale of the jersey he may have been wearing that day is almost as fascinating. It has also been a subject of discussion for years, researched by jersey experts and amateur historians, and analyzed using cutting-edge methods. On Saturday, the jersey is expected to become the most expensive piece of game-worn sports memorabilia in history, fetching close to $20 million or more at a Heritage Auction. The previous record was held by a Michael Jordan 1998 NBA Finals jersey that sold for nearly $10.1 million in 2022.
But the decision by Resolution Photomatching — one of the leaders in the industry — has offered a sliver of doubt, creating a stir in collector’s circles and offering a window into the world of photomatching, where private companies play referee in the high-stakes world of memorabilia auctions, increasing an item’s value with a simple yes. In an interview last week, Chris Ivy, the director of sports auctions at Heritage, said it was “unfortunate that a company like Resolution would want to come out and say something like that.”
“We’re 100 percent confident that this jersey is an authentic 1932 Babe Ruth game-worn jersey,” he said, “and we’re 100 percent confident that it’s the jersey he was wearing in game three of the 1932 World Series for his ‘called shot.’”
Robinson, who founded Resolution in 2016, sees his company’s ruling as “upholding the standards of photomatching in general.” But multiple other photomatching companies — including MeiGray, an industry rival — have declared the jersey a match. The evidence — the photos, details and conclusions — is readily available at the item’s Heritage Auction listing. But for many in the industry, it raised questions about how much uncertainty is acceptable. How much doubt can be tolerated when the price tag might reach $30 million?
In the years after the 1932 World Series, the jersey Ruth wore during Game 3 disappeared. The era of instant authentication was decades away. The National Baseball Hall of Fame did not yet exist. The jersey — made with heavy gray flannel that weighed around seven ounces and featuring midnight navy felt that spelled out “New York” — was not an iconic piece of American history. It was just laundry.
Until one day in 1990, when a road Yankees jersey was found in Florida.
One thing that is not in dispute: Babe Ruth hit two home runs in Game 3 of the 1932 World Series. The first came against Cubs starter Charlie Root in the first inning with two runners on. The second is perhaps the most famous in baseball history. It came in the top of the fifth with nobody on and the score tied 4-4. Root, who won 15 games that year, was still on the mound.
It had been a heated series. New York players were furious that Cubs infielder Mark Koenig — a former member of the Yankees’ “Murderer’s Row” — was voted to receive only a half-share of the World Series bonus. “We were givin’ them (the Cubs) hell about how cheap they were,” Ruth later told The Chicago Daily News.
What happened next is still a matter of some debate. When the count reached 2-2, the United Press wrote that “Ruth motioned to the Cubs’ dugout that he was going to hit one out of the park.” The New York Daily News, meanwhile, said that Ruth “merely held up two fingers to the Cubs’ dugout to show that there was still another pitch coming to him.”
In the only surviving footage from the game, Ruth can be seen motioning toward the Cubs’ dugout along the third-base line. “I didn’t point to any spot,” Ruth would say later, according to the Chicago Daily News. “But as long as I’d called the first two strikes on myself, I had to go through with it.”
Ruth, of course, understood the power of myth, and once the story had legs, he spent years repeating all manner of versions. The embellishments often came from teammates.
The Babe Ruth jersey up for auction. (Courtesy of Heritage Auctions)
“All of us players could see it was a helluva good story,” Bill Dickey, the Yankees catcher, told The Washington Post’s Shirley Povich, according to the columnist’s memoir, “All These Mornings.” “So we just made an agreement not to bother straightening out the facts.”
Ruth did hit a towering home run. The Yankees won the World Series in four games. What happened to his jersey, however, was an even bigger mystery. That is, until a well-known collector named Andy Imperato purchased an old road Yankees jersey from a woman in Florida around 1990. According to the official story, the woman’s father had received the jersey from Ruth after a round of golf. Imperato turned around and sold the jersey to another private collector for $150,000. (Imperato did not respond to multiple requests from The Athletic.)
In 1999, the jersey was consigned back to Grey Flannel Auctions — where Imperato was a co-founder — and advertised for auction as a 1930 Ruth road uniform. It sold for $284,000 and was eventually loaned to the Babe Ruth Birthplace and Museum in Baltimore. When the jersey returned to Grey Flannel again in 2005 the company elected to do additional research, which is how it became touted as the uniform Ruth was wearing on Oct. 1, 1932, the day of the “called shot.”
The change led to questions in the baseball community. Marc Okkonen, an amateur uniform maven turned author, studied the evidence around the jersey and concluded that it “had to have been worn by the Bambino when he connected with his famous ‘called shot.’” Others, including Michael Heffner, the president of Lelands, expressed measured skepticism. It was just as difficult to prove it wasn’t the jersey as to confirm it was. (“This memorabilia business is a racket,” Bob Feller, the famously crusty Cleveland ace, told The New York Daily News.) Nevertheless, the price soared. It sold for $940,000 to Richard C. Angrist, an ophthalmologist from New Jersey, who later loaned the jersey to the Yankees for a public display at the team’s museum.
Angrist had grown up a devoted Mets fan but diversified his interests when, in the 1980s, he started collecting baseballs signed by Hall of Famers. The Mets delivered nostalgia; the Yankees provided terrific ROI. By 2019, he had spent more than a decade trying to further corroborate the authenticity of the road Ruth jersey through various means. In the only public interview he has done on his collection — given to an ophthalmologist professional society — Angrist said he used “the services of a two-time Emmy award-winning producer, editor, director, and videographer” to help authenticate his items. (Angrist could not be reached for comment, and Heritage would not confirm the seller of the Ruth jersey.)
In 2008, Angrist paid to have Dave Grob, the policy director at Memorabilia Evaluation and Research Services, re-evaluate the jersey. After studying the evidence, Grob believed it was “most likely the one and the same.”
But the rise of photomatching — the practice of side-by-side analysis by experts — as an industry standard left him with another avenue for authentication. So he submitted the jersey to Resolution for the first time in 2019. Resolution had been founded by Robinson, who grew up in the Seattle area collecting game-used bats by Mariners players like Mark McLemore and Bret Boone. He had come across the concept of photomatching on internet message boards that concerned memorabilia, and when he graduated from the University of Washington in 2016, he saw a void in the emerging market.
The Resolution method consists of a three-round process that incorporates an 11-person team, more than 35 image databases and what Robinson calls a “comparison analysis process.” The approach relies on identifying characteristics on the item and the photos that are, in Robinson’s words, “definitively identical and definitively unique” — such as pinstripes, stitching patterns or stains. If the lettering alignment on a jersey is the same for each player on a team, then that cannot be deemed a “unique characteristic” and cannot be used to determine a match. The method eschews what Robinson terms a “process of elimination” analysis, where experts rule out jerseys.
Resolution has matched items going back to the early 20th century, including a Ruth bat and two Ty Cobb items. It scored one of its biggest marketing victories when it matched an aviator helmet that once belonged to Amelia Earhart. (It sold for $825,000 at a Heritage Auction.) The company charges one fee for its process and an additional premium if it finds a match, a point that Robinson emphasizes. When Resolution returned a “no match” verdict on the Ruth jersey in 2019, it was sacrificing additional revenue. And when Angrist submitted the item to Resolution again in 2021 and 2022, the company came back with the same ruling.
“We came to the same conclusion each time it was submitted after re-analyzing all of the characteristics each time,” Robinson said.
Ruth shakes hands with Lou Gehrig after hitting a home run in Game 3 of the 1932 World Series. (Bettman/Getty Images)
It’s not uncommon for high-end collectors to receive a “no match” from the leading photomatch companies. In the case of the Ruth jersey, the decision would have remained an industry secret, but Angrist took the jersey to End-to-End, a new photomatching company started by Blake Panarisi, a 2017 graduate of San Diego State who had worked in data research and analytics. Panarisi sees the art as “a variation of image classification,” which he utilized in the business world. The company returned a match on the jersey, and eventually, so did MeiGray, a firm with a longer track record. (Earlier this year, Panarisi moved to Professional Sports Authenticator, which started a photomatching department and also matched the jersey.)
In an April letter to Angrist from Jim Montague, vice president of MeiGray Authenticated, and Stu Oxenhorn, the company’s director of vintage, the company said the “jersey was photo-matched to two Getty Images (photos) and a photo from The Chicago Daily News showing Ruth standing at the dugout with Lou Gehrig and Joe McCarthy. The photos were taken both prior and during Game 3 of the World Series on October 1, 1932, at Wrigley Field in Chicago.”
The discrepancy between the rulings stemmed from characteristics — in this case, the alignment of letters on the front in relation to buttons — that MeiGray and others used to make their calls. Resolution found that those characteristics were identical to those on other Yankee jerseys from that year, which meant that they were not “definitively unique.” Upon prompting from Heritage, Resolution said it provided “a brief Letter of Opinion detailing the characteristics in player images that showed some level of promise,” which is included on the listing page. Robinson said it was not the first time that another company came to a different conclusion after Resolution failed to match an item.
“We have often felt heavy pressure from some of our most powerful clients to stay silent in these situations,” Robinson said in a press release in late July. “But in this situation, we felt like we had to be open.”
Resolution’s history with the Ruth jersey first became public after reporter Darren Rovell inquired earlier this year. But Robinson said the company had planned to issue a statement about its earlier rulings, citing the importance of the item. The ensuing conversation over the jersey has underscored a larger argument about the standards of photomatching, which are determined by the companies themselves.
“It’s part of the process of photomatching,” Panarisi said. “It’s really an opinion-based service, when you look at it. But there are hard facts to back that opinion.”
Major League Baseball, which operates an authenticator program, does not use photomatching, a league official told The Athletic. It relies solely on on-site employees, who issue stickers to game-used balls, bats and jerseys. Robinson remains hopeful that the questions over the Ruth jersey will benefit the photomatching industry in the long run. As of Wednesday afternoon, the highest bid was at $18.12 million, including a buyer’s premium.
“We’ve heard from a lot of our top auction house clients and individual clients in the last couple weeks,” Robinson said. “They’ve been really supportive of our standards and openness, which has been very encouraging.”
Heritage Auctions has kept relying on Resolution, too. Another item for sale this month is a 1954 game-worn Hank Aaron jersey from his rookie season. The item was photomatched by Resolution and the Heritage listing includes the following disclaimer: “The most ironclad assurance of authenticity is delivered by the good folks at Resolution Photomatching.”
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(Top photo of Babe Ruth with Ping Bodie: Bettmann via Getty Images)
Culture
Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook
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.
Culture
Do You Know the Comics That Inspired These TV Adventures?
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.
Culture
Video: Our Spring Book Recommendations
new video loaded: Our Spring Book Recommendations
By Jennifer Harlan, MJ Franklin, Joumana Khatib, Edward Vega and Laura Salaberry
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