I carried it to the counter and flipped pages until I found the one I was looking for. I squinted at an illustration, then closed my eyes entirely and compared it to the picture in my memory.

Was it the same guy?

I thought it was, but it was hard to be sure. Postage stamps are illustrated in black and white in the catalog, and at less than half their actual size. Years ago there was a federal regulation in the United States requiring that an illustration of a postage stamp be broken by a horizontal white line, so that unscrupulous persons couldn’t cut them out of the book, paste them on envelopes, and defraud the government. Nowadays, when a ten-year-old can run off color Xeroxes of twenty-dollar bills that will make it past your average bank teller, that old rule has been discarded as obsolete, and it’s now legal to illustrate postage stamps as realistically as you wish, and to print actual-size photographs of U.S. currency.

The more recent stamp illustrations don’t have the white lines, but the catalog people haven’t troubled to rephotograph all the earlier issues, and the stamps I was looking at were of that sort, having been issued over seventy years ago. I tilted the book to get all I could from the light, and I squinted like the first runner-up in a gurning competition, and finally I went to my office in the back and looked through drawers until I found the magnifying glass.

Even with the glass, the results were not anything you’d want to go to court with. Of the series of fifteen stamps, the folks at Scott had chosen to illustrate only four. Three showed local scenes, including a church, a mountain, and a gypsy leading a dancing bear on a leash. In each of these, an unsmiling version of the man in Ilona’s photograph gazed at you from a circular inset in the upper right corner.