“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.

(Pause.) It seems 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.

(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.

(“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.

(“A rectangular item of paper, perhaps the shape of a postcard and the size.” Again see page 230. The object is a rectangular item, of heavy paper or light card stock. It is also the shape of a postcard, and nearly the same size. Actually a bit smaller.

(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 JB.” Later Seth confirms that JB refers to Ruburt or Jane. Good data. The object is addressed to Jane. See page 230.

(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.

(Below this on the same page a brief resume of Paula Gerard’s professional career is given. Minneapolis, Minnesota, is mentioned here by name.

(Another longish word beginning with M is found in the publisher’s address on the title page—332 South Michigan Avenue, 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.

(“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.

(“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.

(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.

(2nd Question: Who does JB refer to? “Here, to Ruburt.” Correct. The object is addressed to Jane. See page 230.

(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.