1992 | Ben Enniss |Bronze Sculpture
The Potter is a small cast bronze sculpture created in 1992, depicting a seated figure bent forward in the focused act of working with pottery. The figure is shown in a moment of concentration, with vessel forms placed nearby, emphasizing craftsmanship, repetition, and the physical act of making.
The sculpture is signed, dated, and editioned on the bronze base and rests on an irregular walnut base. It was acquired for the Draper School Art Collection in 1997.
The artist studied ceramics and sculpture at the University of Utah after completing earlier studies at Dixie College in St. George. He has also worked as an art educator in Utah, teaching art at Valley High School for many years. His early interest in art is often described in relation to formative experiences in school and encouragement from teachers, which led him toward a career that combined both making and teaching.
Unknown |Bronze Coated Ceramic
During the 1930’s, Draper hosted a number of artists who were employed by the Work Progress Administration Art Project. As a part of the program, local residents provided room and board for the participating artists. The imminently talented artist and sculptor T.S. Knaphus was housed by Cyrus Vawdrey. As a generous gesture, Knaphus sculpted a bust of Abraham Lincoln for Mr. Vawdrey, who, in turn, generously donated the bust to the Beck Collection.
This bust was later lost. Principal Orr Hill felt so badly that this had been lost that he and his wife found and bought the replacement that currently sits in the art collection. It is unknown if this is the original, an exact replica or a piece that is similar.
1937 | Norman Rockwell 1894–1978 | Oil
One of Rockwell’s lesser-known but historically significant paintings is Ichabod Crane, completed in 1937 as an oil on canvas. It depicts the lanky schoolmaster from The Legend of Sleepy Hollow by Washington Irving. Rather than illustrating the famous chase by the Headless Horseman, Rockwell focuses on the character himself, presenting Ichabod as an awkward, intellectual figure whose elongated body, expressive face, and nervous posture perfectly reflect Irving’s literary description.
Unlike Rockwell’s familiar scenes of small-town America, Ichabod Crane is more psychological than narrative. The painting emphasizes the character’s personality rather than a dramatic event. Warm autumn colors and carefully controlled lighting isolate Ichabod against a dark background, drawing attention to his expressive face and hands—the tools of a schoolmaster and writer. The composition captures both his intelligence and vulnerability.
One of the most remarkable stories associated with Ichabod Crane occurred in 1951. Students at Draper Elementary School wanted to acquire an original work of art for their school after seeing the painting exhibited in Utah. Through bake sales, car washes, and other fundraising efforts, the students raised $800. When Rockwell learned about their project, he agreed to reduce the asking price—reported to have been $1,200—so the children could purchase the original oil painting for their school. The painting has remained part of Draper Elementary’s art collection ever since and is considered one of the most significant works owned by a public school in the United States.
Today, art experts believe the painting is worth far more than anyone imagined in 1951. Despite its financial value, its greatest significance may be its remarkable story—a community of schoolchildren who believed original art belonged in their school and convinced America’s most beloved illustrator to help make that dream possible.
Norman Rockwell is one of the most celebrated American artists of the 20th century. Although he is best known for his 321 cover illustrations for The Saturday Evening Post, Rockwell was much more than a magazine illustrator. He was a master storyteller whose paintings documented American life with extraordinary technical skill, warmth, humor, and humanity. Throughout his career, he produced more than 4,000 original works, including illustrations, portraits, advertisements, calendars, and fine art paintings. Later in his career, his work expanded beyond nostalgic Americana to address important social issues, including civil rights, poverty, and equality in paintings such as The Problem We All Live With and the Four Freedoms series.
Christian Joseph Cooper | Ceramic
Christian was born in 1981 in Provo, Utah. He graduated in June 2000 from Valley High School where his art teacher encouraged him to enter the Draper Visual Arts Foundation scholarship competition. His work was so exceptional that he received the Purchase Award.
Most of Christian’s sculptures tend to have a Native American or African flavor. He particularly enjoys creating ceramic masks. In reference to his work in clay, Christian commented that he “doesn’t really know where the ideas come from but that when it’s right, it seems to just flow.”
Jordan Reading | Ceramic
This ceramic sculpture, Boar Mask by Jordan Reading, is a highly expressive and imaginative work that blends elements of wildlife, mythology, and decorative design. Sculpted in richly textured clay with a warm, earthy finish, the mask features a symmetrical composition that transforms the familiar features of a wild boar into an almost fantastical creature. Large pointed ears, elongated snouts, and deeply carved eyes are balanced by flowing patterns that run through the center of the face, creating a sense of movement and organic growth.
The artist’s attention to texture is evident throughout the piece, with carved lines, stippled surfaces, and layered details giving the mask the appearance of weathered wood or ancient carved stone. Mounted on a polished wooden plaque, the sculpture takes on the presentation of a ceremonial or cultural artifact while maintaining a distinctly contemporary artistic style.
The mask evokes themes of strength, resilience, and humanity’s enduring connection to the natural world. Rather than striving for anatomical realism, Jordan Reading emphasizes expressive form and symbolic character, allowing the boar to become a powerful emblem rather than simply an animal portrait. The exaggerated facial features and flowing decorative motifs suggest influences from tribal masks, folklore, and fantasy art, encouraging viewers to imagine the stories and traditions that such an object might represent. The warm ceramic tones enhance the handcrafted quality of the sculpture, while the balanced composition and intricate carving reward close examination from every angle. Together, these elements create a compelling work that celebrates both the versatility of clay as a sculptural medium and the enduring power of animals as symbols in artistic expression.
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