The material of the collection relates to a large collection of archeological specimens which Harris began in 1924 and developed into a 100,000-piece amassment. The collection, ranging in time from the paleo-American to the historic, in part represents Harris's own field work but also incorporates material of other workers. It includes material from Texas, Oklahoma, Louisiana, Mississippi, Arkansas, Alabama, New York, Pennsylvania, Ohio, Colorado, and Montana. It also includes pieces from Bolivia, Central America, Mexico, and Korea. The material is now among the holdings of the Department of Anthropology of Natural History and is managed by the department's processing lab. ; Correspondents include Robert Eugene Bell, Jay C. Blaine, Katy Caver, Claire C. Davison, Robert O. Fay, Dan L. Flores, Jon L. Gibson, Vance Haynes, Lawrence H. Head, Robert Fleming Heizer, Thomas R. Hester, Marsha F. Jackson, Jerome Jacobson, Dan Jank, William K. Jones, Morton B. King, Alex Dony Krieger, Truett Latimer, Robert K. Liu, John Ludwickson, William S. Marmaduke, Roger McVay, K. R. Morgan, Dan F. Morse, Hermes Nye, Dorris L. Olds, Gregory Perino, Stephen Schmidt, Dan Scurlock, S. Alan Skinner, Len Slesick, Robert Lloyd Stephenson, Byron Sudbury, Helen Hornbeck Tanner, Lonn W. Taylor, Ted Thygesen, Marvin E. Tong, Jr., Clarence H. Webb, Mildred Mott Wedel, Frank A. Weir, Fred Wendorf, James H. Word, and Don G. Wyckoff. The collection includes some material about the family of Inus Marie Harris and their early days in Texas.
Please note that the collection contains images of human remains.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
Collection is arranged into 13 series: (1) Biographical material, papers about the Harris collection, and personal material; (2) correspondence, ca. 1964 1979; (3) alphabetical subject file; (4) manuscripts (by Harris and other authors); (5) Texas archeological survey sheets in notebooks; (6) loose survey sheets; (7) miscellaneous notes; (8) sound recordings; (9) printed and processed material; (10) Clem family papers (concerning its early days in Texas); (11) railroad material; (12) cartographic material (archeological, historical, modern maps of Texas, maps of Texas counties (many annotated to show archeological sites), Texas geological maps, miscellaneous maps outside Texas, United States Geological Survey maps, United States Geological Survey and United States Army Corps of Engineer maps annotated to show archeological sites, maps of dams and reservoirs, aerial photographs of a section of Red River; (13) photographs and illustrations.
Biographical Note:
By vocation, Robert (R.) King Harris was a locomotive engineer who worked for the Texas Pacific Railroad Company. By avocation, he was an archeologist, an amateur, in the finest sense of the word, with a long-time scientific interest in the work. Harris first developed an interest in archeology as a young boy scout in his native Dallas, Texas. During the 1930s, he became a member of the Texas Archaeological and Paleontological Society and also began to meet informally with other amateur archeologists in Dallas. In 1940, he was one of the founders of the Dallas Archaeological Society and served that organization for many years as the editor of its publication The Record. In 1939-1941, he was a curator at the Hall of State Museum of the Dallas Historical Society; and in 1966, after his retirement, he assumed duties as the curator of collections of the Department of Anthropology at Southern Methodist University. For many years, he was also an active participant with the series of Caddoan Conferences. In these activities and his archeological work, Harris worked closely with his wife, Inus Marie Harris. ; As an archeologist, Harris carried out many archeological surveys in Texas and nearby Oklahoma, Arkansas, and Louisiana. In 1941, under the sponsorship of the Dallas Archaeological Society, he was field foreman of an excavation of burial sites below White Rock Spillway in Dallas County and an excavation of another burial site at the Ragland site on the East Fork of the Trinity River. Again, in 1946, he was field foreman for the excavation of a house site at Bulter Hole site in Collin County, Texas. In 1948-1949, he assisted with the Smithsonian Institution River Basin Survey's work in Whitney, Lavon, and Garza-Little Elm reservoirs. In 1954, he joined Wilson W. Crook in test excavations at the Louis Obschner site near Seagoville and, in 1956, at the well-known Lewisville site in Denton County. He also participated in 1959 in excavations at the Branch site in Lavon Reservoir and, in 1960, directed excavations of a shelter at the Kyle site and the Pearson site in the Iron Bridge Reservoir. In 1962, he worked at the Gilbert site in Rains County, and in 1963, led a survey of Forney Reservoir. In 1965, he was involved in excavations at Glenn Hill site in the same reservoir. In the 1960s and 1970s, Harris also carried out studies of artifacts relating to French trade with Caddoan Indians. Harris was also interested in the travels of early explorers in northeastern Texas including Francisco de Soto and Benard de la Harpe.
Related Materials:
The National Anthropological Archives holds MS 1998-28 Catalog of artifact photographs and descriptions from the R.K. Harris collections.
The Human Studies Film Archives holds the Robert King Harris films (HSFA.1992.07).
Provenance:
Received from Mrs. Inus Marie Harris in 1983.
Restrictions:
Access to the Robert King Harris papers requires an appointment.
Territorio Sur de Baja California. Cape Region. About 6 miles southwestwardly from Santiago. Arroyo San Marteo from Agua Caliente Springs an dam to about 0.25 upstream., Baja California Sur, Mexico, North America
Cape Region, about 6 miles southwest-wardly from Santiago, Arroyo San Marteo from Agua Caliente Springs and dam to about 0.25 mile upstream, Baja California Sur, Mexico, North America
Territorio Sur de Baja California. Cape Region. About 6 miles southwest-wardly fromSantiago. Arroyo San Marteo from Agua Caliente Springs and dam to about 0.25 mile upstream, Baja California Sur, Mexico, North America
Teotitlán de Flores Magón, 3.5 km S of Teotitlán de Flores Magón, at the northern limit of San Martín Toxpalan, at E side of Road MX-135 (131). At the end of a dirt road towards a small dam. In a sunny and disturbed site., Oaxaca, Mexico, North America - Neotropics
Teotitlán de Flores Magón, 3.5 km S of Teotítlán de Flores Magón, at the northern limit of San Martín Toxpalan, at E side of Road MX-135 (131). At the end of a dirt road towards a small dam. In a sunny and disturbed site., Oaxaca, Mexico, North America - Neotropics
Teotitlán de Flores Magón, 3.5 km S of Teotítlán de Flores Magón, at the northern limit of San Martín Toxpalan, at E side of Road MX-135 (131). At the end of a dirt road towards a small dam. In a sunny and disturbed site., Oaxaca, Mexico, North America - Neotropics
Teotitlán de Flores Magón, 3.5 km S of Teotitlán de Flores Magón, at the northern limit of San Martín Toxpalan, at E side of Road MX-135 (131). At the end of a dirt road towards a small dam. In a sunny and disturbed site., Oaxaca, Mexico, North America - Neotropics
The Frank Lloyd Gallery records measure 0.8 linear feet and date from 1960 to 2003, with the bulk of records dating from 1988 to 2003. The records include correspondence, exhibition announcements and catalogs, magazine and newspaper clippings, mailers, press releases, a file for artist Beatrice Wood, and scant photographic materials.
Scope and Contents:
The Frank Lloyd Gallery records measure 0.8 linear feet and date from 1960 to 2003, with the bulk of records dating from 1988 to 2003. The records include exhibition announcements and catalogs, magazine and newspaper clippings, mailers, press releases, and some photographic materials. Beatrice Wood's artist file consists of photos, correspondence, homemade cards, clippings, exhibition ephemera and more. Correspondence includes holiday cards, thank you notes, and scant museum correspondence.
Arrangement:
Due to the small size of this collection the records are arranged as one series.
Biographical / Historical:
Frank Lloyd Gallery was established in 1996 in Santa Monica, California. The gallery exhibited contemporary ceramics, showing established U.S. artists as well as ceramicists from England, France, Holland, Mexico and Japan. Artists shown at the gallery include Peter Shire, Otto and Vivika Heino, Roseline Delisle, John Mason, Anna Silver, Wouter Dam, and many more. The gallery closed its public exhibition program in 2015, but continues to work with private collectors, museums, and commercial galleries; and represents the estates of Craig Kauffman, Peter Voulkos, and Larry Bell.
Provenance:
The collection was donated in 2004 by Frank Lloyd, gallery owner, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Frank Lloyd Gallery records, 1960-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
