“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.

(Caroline Keck sent Jane the items to give to her in appreciation for a pen and ink drawing of a pigeon I gave to Caroline Keck. In July 1964 Jane worked at the Arnot Art Gallery, and Caroline Keck and her husband Sheldon spent some time there then, putting the gallery’s collection in shape. Jane liked Caroline Keck, and the two got along well. The drawing of the pigeon was among a group I had exhibited at the gallery at the time the Kecks were present; they saw it and admired it. I never met the Kecks, but told Jane to give the drawing to them.

(Caroline Keck’s mimeographed list is also printed on cream-tinted paper the size of this page. Louis Pomerantz’s small book has a rust red cover; the title is in reverse lettering, and this too has a cream tint.

(“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.

(As noted on page 230, this copy is in a rusty red, much the same color as on the cover of Louis Pomerantz’s book. Caroline Keck’s handwriting on the object is in blue; hence no black appears on the object. Perhaps Seth interpreted the blue as black, however, then substituted it in the upper left corner.

(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.

(“Connection with a 1962 date, or 1964, or both.” Seth is correct with both dates. See page 230. The object is dated August l, 1964—Caroline Keck’s mimeographed sheet is also dated 1964. Louis Pomerantz’s book’s copyright is in 1962.

(“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.

(The object itself also refers to a situation where Jane worked closely with another woman—namely Caroline Keck, when doing conservation work at the gallery in July 1964. See page 230.

(“A connection with light.” A reference to Caroline Keck, author of the object, and her husband, Jane said. The Kecks brought special equipment to the Arnot with them to examine the gallery’s paintings; among this equipment was a certain kind of light. Probably ultraviolet or infrared, though at this date Jane is not sure.

(“A fence or framework connection with the item.” Again, framework can refer to frames, paintings, etc., as explained. A fence can also enter in, in a more literal way: The Arnot Art Gallery, where Caroline Keck, the author of the object worked, is surrounded by a black iron fence.

(“Connection with a man also. With you and another man," Some distortion develops here, but we think this legitimate data. See the copy of the object on page 230. Note that Caroline Keck writes Jane that her son Larry appropriated my drawing for his own use. Jane looked at me when she gave this data, incidentally.

(4th Question: Who is the other man referred to besides myself? “Something to do with an animal in a tree, that I do not understand.” I had been hoping Seth, or Jane, might come up with Caroline Keck’s husband, Sheldon, or her son Larry, who is named on the object itself. See page 230. Of course I was involved with another man, and this involvement Seth picked up—since my drawing was appropriated by Larry Keck, as noted on the object.

(“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.