Wednesday, March 11, 2026

William James, Jr.'s, Copy of Conclusive Evidence by Vladimir Nabokov

 Vladimir Nabokov's memoir Conclusive Evidence retailed for $3.00 when it was published in 1951. Chapter 6 is "Butterflies," which was originally published in The New Yorker. In 1952, the author, a lifelong lepidopterist, signed a copy for William James, Jr., and added a detailed drawing of a butterfly. This exquisite copy of the book, with James's printed name and Cambridge address, is available today from Whitmore Rare Books, Inc., of Pasadena, for $35,000.












Vladimir Nabokov
AbeBooks listing accessed March 10, 2026






Vladimir Nabokov
AbeBooks item description

Chapter 6 got its start in The New Yorker of June 12, 1948.

With a cartoon by Robert Day, left, and then a spot drawing of a mailbox by Esther Pressoir on the first page of "Butterflies" by Vladiimir Nabokov




Note:
  Peter Kuper pays tribute to Nabokov's passion for butterflies in Insectopolis: A Natural History (2025). I photographed the original Nabokov artwork at his Society of Illustrators show here.






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Monday, March 9, 2026

My Entry in The New Yorker Cartoon Caption Contest #981

In The New Yorker Cartoon Caption Contest #981 from the issue of March 9, 2026, two cats observe a third cat stepping out with a flamboyant mustache. The cat on the left speaks. My submission is below. The drawing is by Felipe Galindo, but his hipster name is Feggo.

"Well—hellooo, Dali."




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Sunday, March 8, 2026

Maurice Sendak: Chicken Soup (With Rice?)

In the December 4 Illustration Art sale, Swann Auction Galleries offered a charming drawing by Maurice Sendak that was there called Chicken Soup—for one very obvious reason. It is clearly inspired by his book Chicken Soup With Rice: A Book of Months from 1962, a part of The Nutshell Library. The drawing is inscribed by Sendak to Lynn Caponera, who was Sendak's longtime housekeeper and caretaker, and is now the Executive Director of the Maurice Sendak Foundation. Swann gives its date as circa 1962.


Maurice Sendak
Swann Auction Galleries listing of December 4, 2026


Maurice Sendak
Swann Auction Galleries listing






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Saturday, March 7, 2026

George Booth: Laughing Gull Cottage

Welcome to George Booth's Laughing Gull Cottage. His original 1978 art for The New Yorker was sold at Heritage Auctions on November 21. Just try and keep a straight face.

Laughing Gull Cottage
George Booth
Original art
The New Yorker, September 18, 1978, p. 46


The sale was previewed before bidding opened:

George Booth
Heritage Auctions preview accessed November 10, 2025

It sold for under $1,000 before tax and shipping.



Laughing Gull Cottage
George Booth
The New Yorker, September 18, 1978, p. 46

Laughing Gull Cottage
George Booth
Original art
The New Yorker, September 18, 1978, p. 46


With a cartoon by George Booth



Note:  There is always a place for original George Booth art on Attempted Bloggery. The more laughs, the better.



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Friday, March 6, 2026

Peter Arno: Former Femme Fatale

The life of Mata Hari informs our views of the alluring secret agent as seductress to this day. In 1917, the exotic dancer was convicted as a German spy and killed by firing squad in France.

Come 1940 and a second World War, cartoonist Peter Arno revisited the idea of the femme fatale as spy, giving her a new code name and her story a decidedly different ending.

"That's Q37, in her day one of the most effective secret agents this country ever had."
Peter Arno
Original art
The New Yorker
, August 24, 1940, p. 17


The original art came to light at Halls in early 2016.
Halls, 16th March 2016

Given a presale estimate of 600-800 GBP, it sold for a healthy 2,100 GBP.
https://www.lotsearch.net/artist/peter-arno/archive?orderBy=dollarBasedPrice-startPrice&order=ASC&perPage=50&page=1


The buyer, in all probability, was London illustration dealer Chris Beetles. The work was included in the catalogue for Beetles's annual The Illustrators sale for 2016:
Chris Beetles The Illustrators 2016 Catalogue





Michael Maslin's biography Peter Arno: The Mad, Mad World of The New Yorker's Greatest Cartoonist had just been published, and it was cited by Beetles under Further Reading.

A scanned image shows some of the details. Arno's plaza seems German or Prussian. The two paired men, military and civilian, walk in lock step. That uniform of the man in front is impressive right down to the spurs. As we read left to right, the men lead our eyes to Q37 herself, in widow's garb, looking after her six children. The big joke is not merely the number of progeny but that they represent so many different races. Such racial caricatures were deemed acceptable in the pages of The New Yorker of 1940 by the editorial staff, the readership, and the advertisers. 


"That's Q37, in her day one of the most effective secret agents
this country ever had."

Peter Arno
The New Yorker, August 24, 1940, p. 17





Here then is how the cartoon appeared in the magazine:

A spot drawing and a cartoon by Peter Arno






* * *

Horse in a blanket
Spot drawing
Artist Unidentified

The New Yorker
, August 24, 1940, p. 1





Note:  I would appreciate hearing from anyone who retains a price list from the Chris Beetles 2016 catalogue for The Illustrators show. The item in question is no. 119. 

Also, the spot artist's initials may be recognizable to someone in the know.

Do I need to keep asking for original art by Peter Arno to display in these pages? Yes, I think I do.



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Thursday, March 5, 2026

Annals of Censorship: Richard Taylor and Hateful Activities

I generate all sorts of content for this blog, and I share much of it from virtually every new post on various social media platforms. Once I send my curated images out into the world, they may be subjected to varying interpretations of community standards on the respective sites. There could even be some censorship leading to permanent removal of some of the content.


Last year, a Pinterest pin of mine featured proposed New Yorker cover art by Richard Taylor, a favorite cartoonist. It was no doubt from the latter part of World War II. The pin was subsequently "deactivated" from the site for "hateful activities, because it contains support for hate based groups or ideologies." The Taylor art is from a 2022 post, "Richard Taylor Goes to War." The artwork had been sold that year by Swann Galleries in the June Illustration Art sale.

Richard Taylor
Proposed New Yorker cover art


Swann had referred to the work as "Worried Hitler." Taylor's art celebrates the Fuerher's panic as he contemplates a war that is inexorably going against him. His justified paranoia prevents him from trusting his generals, who lurk menacingly in the background. In other words, this is anything but supportive of Nazi ideology. Sure, it does have a prominent swastika on that flag hanging from the wall. Taken out of the context of my original post, could this image really be seen as a violation of Pinterest's Community Guidelines on hateful ideologies?

Well, it was. But I feel certain that in the mid-1940s, when this illustration failed to meet The New Yorker's needs for a cover, no one would have mistaken it for pro-Hitler, pro-Nazi, or containing "support for hate based groups or ideologies." Today, though, corporations may be erring on the side of caution. A PDF explains "This violation was reported to" Pinterest. That certainly sounds as if a human reported it. The complaint may then have been reviewed by algorithm; who knows whether any human input was sought or, indeed, whether the involved human would know any pertinent history.



I had the decision reviewed earlier this year, without any change in the verdict.



Thus the pin was permanently removed from my Attempted Bloggery board on Pinterest. Oddly, though, there is another board of mine, this one about Taylor, where you can still see the image from the pin. It's here, but with absolutely no supporting text. 


Now watch—someone's going to report me.





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