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The Roswell Museum Federal Art Center Main Menu

Request for Treatment of Injured Employees

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Gallery: Roswell Museum Archive Sara Woodbury
Contents of this path:
1. Gallery: Roswell Museum Archive
2. Frank Standhardt, Elevation for the Roswell Museum, September 1936
3. Frank Standhardt, Elevation for the Roswell Museum, September 1936
4. The Roswell Museum, ca. 1937
5. Roswell Museum, 1937
6. Working on the colcha curtain 1937
7. Newspaper Clipping about Colcha pattern, 1937
8. Colcha pattern 1 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
9. Colcha pattern 2 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
10. Colcha pattern 3 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
11. Colcha pattern 4 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
12. Colcha pattern 5 Introduced by the Spanish, Colcha embroidery is a traditional New Mexican art form characterized by the use of bright, colorful patterns. During the WPA era, the Federal Art Project in New Mexico encouraged colcha projects as part of its preservation in regional crafts. This pattern is one of several templates in the Roswell Museum archive, although its exact use remains unknown, as it does not match the patterns in the museum's stage curtain. Courtesy of the Roswell Museum and Art Center archive.
13. Roswell Museum, Stage and Curtain, ca. 1937 Central view of the stage with colcha curtain. The curtain features a pattern of Maltese crosses capped with stylized roses, and eight double-headed eagles. The eagle motif, initially taken from the Habsburg double eagle, is more specifically referencing Maximilian I's coat of arms. The color scheme included shades of tan, red, green, yellow, and brown. The whereabouts of the curtain remain unknown. Courtesy of the Roswell Museum and Art Center archive.
14. Roswell Museum, Stage and Curtain, ca. 1937
15. Drawing of Ladies Lounge, ca. 1937
16. Ladies Lounge, ca. 1937-1938
17. Ladies Lounge, ca. 1937-1938
18. Roswell Museum Office, 1937
19. Eddie Delgado, Tin Chandelier, 1937
20. Left to Right: Russell Vernon Hunter, Henriette Wyeth, and Paul Horgan, December 1937 Left to right: Russell Vernon Hunter, Henriette Wyeth, and Paul Horgan most likely sitting in front of Wyeth's painting "Victorian Arrangement," which was included in the December 1937 exhibition checklist. Although the museum opened in October, the official dedication did not take place until December, after the interior had been finished. Peter Hurd did not attend the opening event because he was working on a fresco in Albuquerque at the time. Courtesy of the Roswell Museum and Art Center archive.
21. Looking into the Main Gallery, with Exhibition 241, Index of American Design, on view.
22. Checklist for Peter Hurd and Henriette Wyeth Exhibition, December 1937
23. Henriette Wyeth and Peter Hurd exhibition, December 1937
24. Job Description for Rainey Woolsey
25. Work Hours for Rainey Woolsey Compared to today's 40-hour week minimum, staff members at the Roswell Museum worked fewer hours in the 1930s, reflecting limited budgets and funding. In the case of Gallery Attendant Rainey Woolsey, 30 hours a week, or 120 hours per month, was the maximum amoung allotted, with the workday lasting from 1:30-5:30 pm. The first hour would be spent preparing reports , with the gallery opening to the public at 2. Courtesy of the Roswell Museum and Art Center archive.
26. Research topics for Rainey Woolsey, 1938
27. Woolsey Report, page 1 Staff members were expected to submit reports reviewing their activities. This report comes from Rainey Woolsey, who served as Gallery Attendant between 1937 and 1938. Transcription: "The Gallery at the Roswell Museum has a new exhibition on drawing showing a variety in style and execution in ink, pencil, crayon, and chalk. This exhibition, assembled in California, is one of many arranged for the federal art centers by (illeg) in Washington, DC. In this show, Nevada and California artists are represented. Several pictures represent (something) for decoration of public buildings, those by Helen Foris and Dorothy Puccinelli are sketches for a mural....
28. Report from Rainey Woolsey, Page 2 Transcription: (First sentence illegible) “This group of drawings will hang until December 15th. Visitors to the gallery will find (illeg) “Roswell Museum Federal Art Center the First Year” by Paul Horgan. Captain Horgan won the Harper Prize of 1933 for “The Fault of Angels”, a novel. He is the author of “Main Line West”, “A Lamp on the Plains”, “The Return of the Weed”, “The Habit of Empire” and many other publications. He is librarian of New Mexico Institute at Roswell, one of state advisors for the Federal Art Project of N.M. Paul Horgan has been active in organizing Roswell Museum Federal Art Center and constantly vigilant in promoting its interests—thru the " (see page 3 for continuation)
29. Report from Rainey Woolsey, Page 3 Transcription: (First sentence illegible) “…the above article is reprinted from the Golden Anniversary of the Roswell Daily Record for October 3, 1938. Captain Horgan is chairman of the recently organized “Roswell Friends of Art” this function of this group is to further the interest of and bring together those who might enjoy art activities at Roswell Museum Federal Art Center. On Wednesday nite December 7 the Archaeological and Historical Society younger members will sponsor a game party at the museum. The idea being to bring your table and game for fun and the museum. Pay a small fee—refreshments will be served during the evening.” (see page 4 for conclusion)
30. Report from Rainey Woolsey, Page 4 Transcription: “There will be a meeting open to the public Monday nite at 7:30 o’clock at the Roswell Museum for the purpose of discussing the work shop plan and to enroll those interested. Mr. Marfyak and Mr. Slifkin artists from the New York City Federal Art Project are here for several months to establish and teach classes for children and adults. Mr. Marfyak and Mr. Slifkin will be present Monday nite and invite your cooperation-” (end of document)
31. Note from Second Grade Class at East Side School to Rainey Woolsey, n.d. This note represents one of the few direct responses from visitors to the museum, in this instance a class of second graders. Rainey Woolsey worked at the Roswell Museum as a gallery attendant between 1937 and 1938. Transcription: "Dear Mrs. Woolsey, We liked our visit at the museum. We learned many interesting things. We thank you for inviting us. Second Grade East Side School." Courtesy of the Roswell Museum and Art Center archive.
32. FAP Exhibition #241, Index of American Design, with local antiques exhibit, 1938
33. Acceptance/Rejection Form for Local Flower Show, 1938
34. Letter from J.R. Whiteman to Roland Dickey, 1938 Whiteman was a local artist who painted posters and other signage for the Roswell Museum. Dickey would supply him supplies and instructions. Transcription: "Dear Roland, am sending some of the posters--suppose this is the right size? Since I have moved I can't find any more paper--may be out. Can you send 12 cards for the last posters. Hope these will suffice--or sumpin! Sincerely, JRW." Courtesy of the Roswell Museum and Art Center archive.
35. Side Gallery with religious art exhibition, 1938-1939 In response to complaints about dominating the primary exhibition space, director Roland Dickey curated an exhibition of religious art in the smaller gallery, allowing local sponsors to work in the main space. As director, Roland Dickey often felt frustrated with the sponsor's differing interests, and expressed a sense of self-satisfaction in a December 30, 1938 letter to State FAP Director Russell Vernon Hunter: “The room looks nicer than it ever has, and they [the Sponsors] like it. ” As an example of the often one-sided nature of the archive, we do not have any correspondence from the sponsors themselves explaining how they felt about the gallery spaces. Since everything we know about them comes through the perspective of the FAP staff, we are getting a vantage that privileges FAP objectives rather than local ones. Courtesy of the Roswell Museum and Art Center archive.
36. New Mexico Military Institute cadets attending an exhibition of Daumier Lithographs, 1939
37. Drawings from California, November 20-December 20, 1938
38. Checklist for Drawings from California, Page 1
39. Checklist for Drawings from California, Page 2
40. Certificate of Exhibition and Ownership for Drawings from California
41. Government Bill of Lading for Drawings from California
42. Shipping Receipt for Drawings from California
43. Report of Exhibitions Received and Sent for Drawings from California
44. Notice of Bill of Lading for Drawings from California
45. Note from Second Grade Class at East Side School to Rainey Woolsey, n.d. This note represents one of the few direct responses from visitors to the museum, in this instance a class of second graders. Rainey Woolsey worked at the Roswell Museum as a gallery attendant between 1937 and 1938. Transcription: "Dear Mrs. Woolsey, We liked our visit at the museum. We learned many interesting things. We thank you for inviting us. Second Grade East Side School." Courtesy of the Roswell Museum and Art Center archive.
46. Visitor Sign-In Book Page, October 29, 1938
47. Left to Right: Tomas Sapiens and Gregorio Dominguez, 1939
48. Los Pastores Cast, 1938
49. Actors in Los Pastores, 1938
50. John Marfyak, Drawing of Roswell Museum, 1939
51. John Marfyak, Drawing of Roswell Museum, 1939
52. John Marfyak, Postcard, 1939
53. Cover for promotional brochure about the Roswell Museum, 1939
54. Advertisement for Scenes from Circus Life exhibition, 1940
55. Gallery: Roswell Museum Archive
56. Elevation for Mineral Cabinet, ca. 1940
57. Elevation for Mineral Cabinet, ca. 1940
58. Elevation for Mineral Cabinet, ca. 1940
59. Exhibition Schedule, May-July 1940
60. Exhibition Schedule, October 1940-January 1941
61. Martha Kennedy, Melrose Art Center Holiday Card
62. Workshop Announcement, 1938-1939 Although education constituted a significant part of the Federal Community Art Center Project, the Roswell Museum did not begin offering classes until late 1938, as the original building included no classrooms. During the first year, the museum provided educational activities through lectures and gallery talks while it secured several spaces around town for classroom use. By late 1938, the museum's first studio instructors had arrived, John Marfyak and Abraham Slifkin, both on loan from the New York Art Project. They remained in Roswell until the spring of 1939. Courtesy of the Roswell Museum and Art Center archive.
63. Student with artwork, 1939
64. Request for Treatment of Injured Employees
65. Peter Hurd, The Windmill Crew, 1936
66. The Roswell Museum and Art Center today
67. Basic Museum layout
68. Founders Gallery, 2018
69. PGA Gallery, 2018
70. Aston Collection of the American West
71. Goddard workshop
72. The Robert H. Goddard Planetarium

This page is referenced by:

Who Worked Here? 56 The Staff of the Roswell Museum image_header 2021-02-23T17:40:11+00:00
This page lists all of the known employees who worked at the Roswell Museum between 1937 and 1942, when it was a federal community art center. Links to each person's name will take the visitor to a page describing that person's job, the kinds of documents that reference them, and when available, images of those documents. This section will expand as more documents are digitized and uploaded. While this page has endeavored to include everyone listed in the archive, there may be additional individuals whose names remain unknown at the present time.

The Roswell Museum had a small staff, with an average of 3-4 people working at any given time. The WPA certified prospective employees and assigned positions based on skill level or experience. Available positions at the museum included custodian, gallery attendant, secretary, and director, although these jobs often overlapped. Volunteers also assisted with daily tasks. Directors oversaw all the Museum’s operations and reported to the FAP’s State Director for New Mexico, Russell Vernon Hunter (1900-1955). A highly involved administrator, Hunter visited Roswell and the other art center sites regularly. He later became director of the Roswell Museum in 1950.

Due to its location in a relatively rural region with limited access to museum professionals, the Roswell Museum often relied on nonprofessionals to keep curatorial and administrative roles filled. Several of the museum's acting directors, for example, were initially hired as custodians or gallery attendants, but moved into the position when vacancies demanded it. Staff assignments were not permanent, moreover, but were revisited every six months, with personnel regularly moving to different locations.

Examining the labor of the people who worked at the Roswell Museum is a crucial way to acknowledge their presence. We may not know how these individuals felt about their experiences working here, but we can at least recognize the work they did. This is especially important for service-focused roles such as custodial work, jobs that produced limited opportunities to produce the kind of written documents that get preserved in archival repositories. Even if we are limited to time sheets and other indirect references, we can at least begin to appreciate how all of the Roswell Museum's employees worked to make this institution a successful cultural resource.

The Roswell Museum's Staff, in chronological order, 1937-1942
- Rainey Woolsey (1937-1938): Gallery Attendant
- Domingo Tejada (1937-1938): Carpenter
- Trinidad Bernal (1937-1938): Assistant Carpenter
- Robert B. Sprague (1937-1938): Director
- Mary Katherine Higgs (1938): Cataloguer
- Roland Dickey (1938-1940): Director
- Andrew Long (1938): Custodian
- John Marfyak (1938-1939): Art Instructor
- Abraham Slifkin (1938-1939): Art Instructor
- Juanita Lantz (1939): Art Instructor
- Ruth Covey (1939): Gallery Attendant, Acting Director
- Chester Faris (1939-1941): Gallery Attendant, Secretary
- Dale Casey (1940): Art instructor
- Thomas Rockey (1940): Custodian, Instructor
- Merrick Melson (1940): Custodian
- Leonard Hunt (1940-1941): Custodian, Carpenter
- Lucy Bond (1940-41): Director
- Bertha Rose (1941-1942): Gallery Attendant, Acting Director
- Rafael Villalobos (1940-1942): Custodian
References

Chaduri, Nupur, Sherry J. Katz, and Mary Elizabeth Perry. Contesting Archives: Finding Women in the Sources. Urbana: University of Illinois Press, 2010.

Dever, Maryanne, editor. Archives and New Modes of Feminist Research. London: Routledge, 2017.

Shirazi, Roxanne. "Reproducing the Academy: Librarians and the Question of Service in the Digital Humanities." In Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Edited by Jentery Sayers. Minneapolis: University of Minnesota Press, 2017.