“Seth material” search engine (Jane Roberts)

(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’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.

(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 G.” The illustrations for Louis Pomerantz’s book are done by Paula Gerard. But we think the G data a distortion, referring to our friend Bill Gallagher, as brought out in the question period.

(“A distant Minneapolis, Minnesota connection I do not understand. A long word, at least, that looks like that. Or Mississippi or such. With some foreign element it seems, connected with the word.” This a good data that at first eluded us. We believe it refers to the book by Louis Pomerantz; the author himself; Paula Gerard, the illustrator; and the Artists Equity Association, discussed in the book’s forward.

(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.

(“Several small letters or numbers, and a stamped card, from a distant place.” See page 230. The object contains small printed letters in the address in the upper left corner. It also contains numbers in the date. It is a card, but is not stamped; instead of being mailed alone it was enclosed in a small package or envelope with Louis Pomerantz’s book and the mimeographed list described earlier; and all addressed to Jane.

(“A connection with something bound, as a book.” Possibly the book by Louis Pomerantz, mailed with the object to Jane. Some distortion possible, as seen by Seth’s answer to the first question.

(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.