“Seth material” search engine (Jane Roberts)

(The envelope object for tonight was a card sent to Jane by Caroline Keck, conservator of paintings for the Brooklyn Museum, in 1964. See page 230.

(See page 230. The object is a card, blank on the reverse side, written to Jane by Caroline Keck, conservator of the Brooklyn Museum; it was mailed to Jane in early August, along with a copy of the book, Is Your Contemporary Painting More Temporary Than You Think? and a mimeographed list of various addresses furnishing technical help and supplies regarding the conservation of paintings. The list was also compiled by Caroline Keck; the book by Louis Pomerantz.

(“Black print or lettering or writing in a right hand corner, extending outward toward the center.” See page 230. Jane said this data is correct, in that it referred to the Brooklyn Museum and Caroline Keck by name on the object, in the upper left corner. To Jane, this reading matter does project toward the center of the object.

(“A framework within a framework.” Somewhat vague, but we believe legitimate. Jane said the Kecks worked with frames and pictures while at the gallery in July 1964. A painting could be a framework, fitting within another framework—the frame. Could also be a generalization, referring to either the Arnot Gallery here in Elmira, or the Brooklyn Museum mentioned on the object, or both.

(The equalization, Jane believes, refers to the book by Louis Pomerantz, that along with the object and the mimeographed list were mailed to her by Caroline Keck from Brooklyn, NY, in August 1964. All three of these items refer to the conservation of paintings. The title page of Louis Pomerantz’s book shows that it was published by A Chicago Chapter Artists Equity Publication, 332 South Michigan Avenue, Chicago 4, Illinois. Artists Equity Association is dealt with in the book’s forward also.

(“A connection with a telephone call," General data. Remember that the Kecks were called long distance in Brooklyn, NY, from Elmira, by the Arnot Gallery before they made the trip to Elmira to do conservation work, for instance.

(“and a stone framework. Rocky.” Probably another general reference to the object, in that the object’s author, Caroline Keck, was associated with both the Brooklyn Museum and the Arnot Art Gallery. Both edifices being made of stone, as well as with additions of brick, etc.

(On the page opposite the title page is a long detailed list of Louis Pomerantz’s previous experience, places of study, etc. He has studied extensively overseas, and worked there and in Canada as an art expert, and in Brooklyn with the Kecks. He has also been employed in various Midwest locations, Chicago, etc. Thus the foreign element mentioned above.

(The distant place would be Brooklyn, NY.

(1st Question: What’s that connection about a book? “It seems as to be an old book. A bound one, with a dark color such as brown on the cover. The side of pages when the book is closed seem dusky in color, like old gold color. The book having a connection with a desk, and another location.” Again, distortion. Jane said that here she confused old paintings and old gilded frames, such as the Kecks worked with at the Arnot, with old books. Quite possibly the book is Louis Pomerantz’s modern one, as described. The cover of this book is a rusty red. Also it may have laid on a desk, and it was sent to Jane from another location—Brooklyn, NY.

(“The other man, a friend rather than a relative.” Here Seth, or Jane, veers toward Bill Gallagher again, it seems. I had not met either Caroline or Sheldon Keck, nor Larry who was in Brooklyn.