Robert Duncan | Offset Lithograph Print
“The Pledge” portrays a familiar scene from early twentieth-century America: Children standing in a one-room schoolhouse with their hands over their hearts as they recite the Pledge of Allegiance before the United States flag. Through its warm palette and careful attention to everyday detail, the painting evokes themes of patriotism, community, and rural education.
Robert Duncan is best known for his nostalgic depictions of the American West and contemporary rural life. Raised in Utah, he began painting at the age of 11 and spent summers on his grandparents’ ranch in Wyoming, experiences which fostered his lifelong appreciation for western landscapes and traditions. In 1975, Duncan became the youngest artist elected to the Cowboy Artists of America. His paintings are held in numerous private and public collections and are recognized for celebrating the enduring character of rural America.
1968 | Jack Jarvie | Pottery
Jack Jarvie has lived in Draper all of his life. He took liking to art at the early age of 5 or 6. After working on paper for years, he found that there was something better; wood. He carved wood at age 10 – fish, horses, cars, etc. However, wood carving was too slow and really hard to work in those days, so he took up clay. When Jack was in the army, he was selected to run the fine arts program at Fort Riley, Kansas because of his art background. At this point, he taught himself the technical part of ceramics, and taught the troops and their wives how to make pottery. After his service in the Army, Jack took classes as entertainment and decided it would be great to be an art teacher. He began by teaching pottery (ceramics) for the University of Utah and then for Brigham Young University. He finally settled in Granite School District, teaching pottery and jewelry at Granite, Olympus, and Cottonwood High Schools. Since retiring in 1985, Jack has taken up metal engraving and a new challenge in engraving hunting rifles and shotguns.
2015 | Eric Carle | Painting
This limited edition print of, “All Around Us,” is #57 of 500. Eric Carle was born in 1929 in New York. His first job was the graphic designer of the New York Times. His first illustration was of a red lobster for an advertisement. This began his true career: writing and illustrating his own stories. The themes of his stories are usually drawn from his extensive knowledge and love of nature – an interest shared by most small children.
Alice B. Ballard | Oil
Alice Ballard is a native of Michigan who has called Utah her home for more than 50 years. She met her husband, Dale, while they were both serving in the army during World War II. Mrs. Ballard finds that painting brings her great joy. It provides inspiration and takes her above the ordinary in life. The Snowbird Institute and Pioneer Craft have provided valuable learning centers for this artist. She has also studied in France. Alice has said that painting is an excuse for traveling and traveling is an excuse for painting. Both are integral parts of her life.
1939 | James Taylor Harwood | Etching
“Marble from Italy” is a color etching and aquatint depicting a harbor scene where blocks of white marble are loaded for transport. A crane dominates the composition as it lifts stone near docked vessels, emphasizing the industrial activity of maritime trade.
Born in Lehi, Utah, in 1860, James Taylor Harwood was one of Utah’s pioneering professional artists. After studying with leading Utah painters, he continued his education at the California School of Design before traveling to Paris to study at the Académie Julian and the École des Beaux-Arts under renowned artists including Jean-Paul Laurens and Léon Bonnat. His later paintings and prints reflected the influence of French Impressionism through brighter colors and more expressive techniques. Harwood eventually became chairman of the art department at the University of Utah and helped shape the development of art education in the state.
Harwood often created color etchings based on his paintings, and this etching of “Marble from Italy,” originally completed in 1928, is one of the best-known examples of this practice. The piece was purchased from Alice Merrill Horne by John M. Peterson and the boys’ shop classes of Draper Junior High School and added to the Draper Junior High Art Collection on May 18, 1939, making it an important part of the collection’s history as well as Utah’s artistic heritage.
Avard T. Fairbanks | Sculpture
“New Life and New Frontiers” depicts a pioneer family composed of a father, mother, and children, including a sleeping infant. Cast in bronze, the composition reflects themes of family unity, endurance, and the promise of new beginnings.
The original work was exhibited in the Latter-day Saint section of the Hall of Religion at the Century of Progress Exposition (Chicago World’s Fair) in 1934. The sculpture is also related to Fairbanks’ “A Tragedy of Winter Quarters,” which he described as a companion work.
Avard T. Fairbanks was a Utah-born sculptor and educator whose work includes numerous public monuments across the United States. He studied in the United States and Europe and became widely recognized for his contributions to sculpture and arts education. His works are held in public and institutional collections nationwide.
Unlimited Gongs | Unknown
This is a traditional suspended bronze gong mounted on a substantial hardwood display stand. The gong features a dark patinated outer ring surrounding a highly polished brass or bronze central disc, creating a striking two-tone appearance that is both decorative and functional.
The instrument is circular and hangs freely from black suspension cords attached to a handcrafted wooden frame.
The frame is constructed from dark-stained hardwood with broad feet for stability, suggesting it was designed as a permanent display piece rather than a portable instrument.
This design is characteristic of tam-tam style orchestral gongs, which produce a broad spectrum of shimmering overtones rather than a single defined pitch.
The mottled dark outer surface shows the natural oxidation and hammering marks typical of cast bronze instruments, while the polished inner circle highlights the craftsmanship and serves as an attractive visual focal point.
The gong is accompanied by a wooden striker (visible hanging from the left side of the stand), indicating that it was intended to be played as well as displayed.
1927 | Torlief S. Knaphus | Oil
This portrait of Reid Beck was painted by Torlief S. Knaphus, a Norwegian-born artist who immigrated to the United States as a young man. After earning a scholarship to the King’s Academy in Oslo, Knaphus continued his artistic education at the prestigious Académie Julian in Paris, where he developed the classical training reflected in his portrait work.
The portrait honors Reid Beck, who served as principal of Draper School from 1917 until his death in 1943. A dedicated educator and advocate for the arts, Beck proposed the creation of an art collection for the school in 1927, a vision that was enthusiastically embraced. The collection began with works by Utah artists and grew over time to include artists from a wider range of backgrounds. Following Beck’s death, the collection was named “The Reid Beck Collection,” and later become “The Reid and Willda Beck Art Collection,” in recognition of their lasting contributions to arts education at Draper School.
Shipworth | Photograph
This historic portrait of Dr. John R. Park was donated to Draper Park School in 1917, more than a decade before the school’s formal art collection was established. It was presented by school board member Mr. Allen, who believed students should become familiar with the educator for whom Draper Park School was named.
In 1861, while traveling through Willow Creek (now Draper), Park met local resident Absalom Smith, who recognized his education and encouraged him to teach in the community school. Park later joined the faculty of the University of Utah, eventually serving as its president. His contributions to education are commemorated by the John R. Park Building on the university’s campus. This portrait reflects Draper School’s long tradition of honoring influential educators and preserving its educational heritage.
Shipworth | Photograph
This portrait of William M. Stewart was one of several large photographs donated to Draper School in 1917 by Mr. Allen, who shared works from his collection by Salt Lake City photographer Charles R. Savage Shipler.
Stewart first attended Draper School as a student of Dr. John R. Park before returning as a teacher. Remembered as a quiet, gifted educator, he shared Park’s belief that learning should inspire curiosity about the natural world. Former students recalled his excitement in introducing them to new experiences, including bringing a banana to class — a rare fruit at the time, and sharing it with every student. Stewart later joined the University of Utah, where he established the Stewart Training School, making significant contributions to teacher education in Utah.
1926 | Lee Green Richards | Oil
This landscape, “Spring Fancies,” was painted in 1926 by Lee Greene Richards. The painting depicts a peach orchard in Davis County, Utah, where soft blossoms and gentle spring light lead the viewer’s eye toward a farmhouse in the distance, with the Great Salt Lake visible beyond. Richards’ delicate use of color captures the freshness and tranquility of the Utah landscape in spring.
Born in Salt Lake City in 1878, Richards studied under J. T. Harwood, Jean-Paul Laurens, and Léon Bonnat, and worked alongside fellow Utah artist Mahonri Young. He gained international recognition early in his career when one of his paintings was accepted into the prestigious Paris Salon, earning an Honorable Mention after narrowly missing a medal by a single vote. Richards became one of Utah’s most celebrated painters and represented one of three generations of artists in his family.
This was the first painting purchased for the collection in 1928.
Florence Ware | Oil
Spring Blossoms by Florence Ware celebrates the beauty of Utah’s spring landscape with light, airy colors and a sense of peaceful renewal.
A Salt Lake City native, Ware studied under J.T. Harwood and Edwin Evans before continuing her education at the Art Institute of Chicago and with Charles W. Hawthorne. She also spent several years traveling and studying throughout Europe and the Mediterranean, experiences that broadened her artistic perspective.
A talented painter, teacher, lecturer, interior decorator, muralist, and set and costume designer, Ware enjoyed a long career with the University of Utah and became one of the state’s most respected artists. Although she painted a variety of subjects, she is best known for her landscapes of Utah and the American West.
Spring Blossoms is a wonderful example of her ability to capture the freshness of spring, featuring flowering trees, aspens, distant mountains, and a brilliant blue sky filled with soft white clouds. The painting’s delicate colors and tranquil atmosphere invite viewers to appreciate the beauty and optimism of the changing season.
Florence Ware | Oil
Also titled “Spring in Big Cottonwood Canyon”
Miss Ware gifted this painting to the collection, recognizing the positive impact that access to fine art can have on children in their schools. Her generosity and commitment to arts education have undoubtedly inspired many aspiring artists.
Miss Ware’s work is well-known and valuable.
Florence Ware was the daughter of Walter Ware, a prominent contractor who was responsible for constructing many of Salt Lake City’s historic buildings. She never married and devoted her life to her art, education, and the cultural enrichment of her community.
May 1938 | Howell Rasenbaum | Oil
“Mountain Stream” by David Howell Rosenbaum captures the energy and beauty of Utah’s mountain landscape in early spring.
Born in Brigham City, Utah, Rosenbaum studied art at Utah State College in Logan and later at the American Artists’ league in New York under Moses Sayer and other instructors. He returned to Utah to teach art through the Works Progress Administration (WPA), helping make art more accessible throughout the state.
Known for his bold colors and expressive landscapes, Rosenbaum painted scenes that celebrate the natural beauty of the American West.
Mountain Stream is an excellent example of his distinctive style, featuring rushing water, lingering patches of snow, trees just awakening, rolling hills, and a brilliant blue sky. The painting’s vibrant colors and graceful composition evoke the freshness and vitality of spring while showcasing Rosenbaum’s talent for bringing the landscape to life.
Cornelius Salisbury | Oil
“Frost in the Valley” by Cornelius Salisbury captures the quiet beauty of Utah in late autumn as the landscape prepares for winter. The golden fields lead the viewer’s eye toward rolling blue-purple mountains, while a modest farmhouse rests peacefully among the trees beneath a sky of bright blue and drifting white clouds.
A native of Richfield, Utah, Salisbury was a respected artist, teacher, and one of the state’s best-known landscape painters. He studied at the University of Utah, Brigham Young University, the Art Student’s League and Pratt Institute in New York, and the Corcoran Gallery School in Washington, D.C.
In addition to his landscape paintings, Salisbury created scenery for the historic Salt Lake Theatre and was deeply familiar with its traditions. Frost in the Valley, painted in 1942, is a fine example of Salisbury’s ability to capture the beauty and changing seasons of the Utah landscape. This and “Chore Time”, also by Salisbury, were donated to the collection by then principal, Reed Beckstead in 1943.
1924 | Henri Moser | Oil
“Wellsville Mountain” by Henri Moser is a vibrant celebration of northern Utah’s landscape. The painting features fields of golden and green grasses stretching toward the dramatic Wellsville Mountains, where brilliant autumn foliage gives way to snow-covered peaks.
Painted with bold color and expressive brushwork, the scene reflects Moser’s distinctive artistic vision and his deep appreciation for the rural beauty of Utah.
Born in Switzerland, Moser immigrated with his family to Logan, Utah, in 1888. After studying at Utah State Agricultural College and with Utah artist A. B. Wright, he continued his education at the Académie Colarossi in Paris before returning to Utah to teach art. Later, he balanced life as both a rancher and a painter, drawing inspiration from the landscapes that surrounded him. Moser became one of Utah’s first artists to embrace a modern, Post-Impressionist style, bringing originality and boldness to his paintings of mountains and rural life. Although his work was not always fully appreciated during his lifetime, he is now recognized as an important figure in Utah art history. Wellsville Mountain is an excellent example of the vivid landscapes for which he is best remembered.
1941 | Gordon Cope | Oil
Painted in 1941, “East Canyon” is a painting of a canyon stream in Smithfield, Utah. The mountains in the distance, the leafless trees, and the stream rushing ever onward, create for the viewer the feeling of having “been there.”
A Salt Lake native, Cope was one of the leading landscape painters in Utah during the 1930s and 40s. He studied art in Utah with A.B. Wright, LeConte Stewart, Lawrence Squires, and others and traveled and studied in France and elsewhere in Europe for four years during the 1920s.
Cope was known chiefly as a painter of portraits and landscapes. He was constantly experimenting, changing, approaching each subject with a fresh viewpoint.
Gordon Cope | Oil
We are fortunate to include two works by Gordon Cope, whose artwork can be found in many prominent locations throughout Utah.
His paintings and murals reflect a lifelong appreciation for the state’s landscapes and history.
Among his notable works are a portrait of an Indigenous chief at the Salt Lake City Public Library, a mural at the Springville Art Museum, and the murals in the rotunda of the Utah State Capitol.
In Big Cottonwood Stream, Cope captures the quiet transition from winter to spring. Snow still blankets the landscape, but the lively stream tumbles over rocks with undiminished energy, suggesting that the changing season is already bringing new life to the mountain canyon.
Cornelius Salisbury | Oil
“Chore Time” beautifully captures winter life around a pioneer home. This meticulously planned and executed painting makes you feel the crisp, biting winter air.
Cornelius Salisbury was born in Richfield, Utah, in 1882. He studied under E.H. Eastmond at Brigham Young University; Ary Students League, New York; John F. Carlson School of Landscape Paintings; Corcoran Gallery School of Art; Aspen Grove; Broadmoor Art Academy, Colorado Springs.
This is one of two Salisbury paintings donated to the collection by Reed Beckstead when he served as principal of Draper School.
1941 | Paul Smith | Watercolor
Paul Smith studied at the National Academy of Design in New York and under renowned Utah artists A. B. Wright and Lawrence Squires. Throughout his career, he exhibited his work extensively in Utah, New York, and Florida. An accomplished educator as well as a painter, Smith taught landscape painting at the Utah Art Center and completed several mural commissions, including one for the Draper School.
In “Autumn Lake”, Smith captures the quiet beauty of the changing season through the delicate medium of watercolor. The painting depicts a calm lake with a small boat resting near the shore, framed by graceful trees that have nearly shed their leaves. Warm golden tones evoke the richness of autumn, creating a peaceful scene that invites viewers to pause and appreciate the tranquility of nature.
Howell Rosenbaum | Oil
“Road in Autumn” by David Howell Rosenbaum captures the quiet beauty of rural Utah in the fall. A winding country road leads the viewer through brilliant autumn foliage, nearly leafless trees, and scattered farmhouses before disappearing into a small village nestled in the valley. Warm seasonal colors and a thoughtful composition create a peaceful, inviting scene.
Born in Brigham City, Utah, Rosenbaum studied at Utah State College and later at the American Artists’ School in New York. He returned to Utah to teach art through the Works Progress Administration (WPA) and later served in the U.S. Army during World War II.
Although best known for his bold oil landscapes, Rosenbaum was equally accomplished in watercolor. “Road in Autumn” beautifully demonstrates his skill with the medium, capturing the warmth and tranquility of the changing season.
Henri Moser | Oil
The colors of this lovely painting are rather muted, yet sunlight seems to emanate from it.
There is a touch of impressionism about it. The impressionists were primarily interested in transmitting their impressions of nature quickly and directly. They loved to paint out of doors in order to fully capture the play of light on a particular scene at a particular time. They wanted to achieve the brightness of sunlight on their canvas.
Signed with only the initials “H.M.,” this painting is attributed to Henri Moser because of similarities in technique in works known to have been done by Moser.
Moser pursued studies with the noted Utah painter A. B. Wright at Brigham Young College. In 1910, the president of Utah State Agriculture College loaned Moser the money to study in Paris at the Academy Colarossi. In 1911, Moser returned to the United States to teach at Utah State, and later taught at the Agricultural College in Cedar City, before moving to Idaho to homestead land in Malad. He ranched and painted there for several years. Moser, was one of the first Utah painters to work in a modern, post-Impressionist manner. He is considered a very important part of Utah art history. This vivid landscape is typical of Moser’s mature work at its best and most collectable.
Kathryn W. Leighton | Oil
The colors of this lovely painting are rather muted, yet sunlight seems to emanate from it.
There is a touch of impressionism about it. The impressionists were primarily interested in transmitting their impressions of nature quickly and directly. They loved to paint out of doors in order to fully capture the play of light on a particular scene at a particular time. They wanted to achieve the brightness of sunlight on their canvas.
Signed with only the initials “H.M.,” this painting is attributed to Henri Moser because of similarities in technique in works known to have been done by Moser.
Moser pursued studies with the noted Utah painter A. B. Wright at Brigham Young College. In 1910, the president of Utah State Agriculture College loaned Moser the money to study in Paris at the Academy Colarossi. In 1911, Moser returned to the United States to teach at Utah State, and later taught at the Agricultural College in Cedar City, before moving to Idaho to homestead land in Malad. He ranched and painted there for several years. Moser, was one of the first Utah painters to work in a modern, post-Impressionist manner. He is considered a very important part of Utah art history. This vivid landscape is typical of Moser’s mature work at its best and most collectable.
Florence Ware | Oil
This portrait of a pretty young Mexican girl shows more of the versatility of Miss Ware.
Bright colors combine with softer shades to make a truly pleasing portrait. It is evident that Miss Ware enjoyed her work, and that her interests were varied.
In our collection we have five of her paintings, each one distinctly different, yet with her own style coming through
Utah native Florence Ware studied art at the University of Utah (with Edwin Evans), at the Art institute of Chicago, privately in the art colony at Laguna Beach, California, and elsewhere. Beginning in 1918, with time out for travel and further study, Ware enjoyed a long career with the University of Utah art department and the University’s Extension Division as an instructor until her retirement in 1956.
She was active as a muralist and as a set and costume designer, as well as being a popular and prolific easel painter. Her paintings and other works are included in important public, private, and corporate collections in Utah. Ware traveled in Europe and North Africa, but her paintings based on those travels, and her still lifes and portraits, are of less interest to collectors than her renditions of the Utah and western landscape. Her work is frequently available in Utah, at relatively modest prices, through dealers specializing in earlier Utah artists. Williams Fine Art gallery in Salt Lake City presented a very large and comprehensive sale exhibition of Ware’s work in several mediums and from her entire career.
Florence Ware | Oil
Miss Ware traveled extensively. This painting of a girl in a flower boat was painted at Xochmilco, Mexico. The colors are soft, and the reflections in the water add to the overall feeling and color of the painting. Miss Ware was not overcome by technical detail in this painting, but rather left the background as a background should be-a setting for this lovely flower girl.
Utah native Florence Ware studied art at the University of Utah (with Edwin Evans), at the Art institute of Chicago, privately in the art colony at Laguna Beach, California, and elsewhere. Beginning in 1918, with time out for travel and further study, Ware enjoyed a long career with the University of Utah art department and the University’s Extension Division as an instructor until her retirement in 1956.
She was active as a muralist and as a set and costume designer, as well as being a popular and prolific easel painter. Her paintings and other works are included in important public, private, and corporate collections in Utah.
Frank C. Kirk |Oil
Acquired: 1954
Carried into the historic land of Israel by the magic brush of Mr. Kirk, we find the figure of a tired, weary old man. His face is lined with hardship and contemplation. His wares crudely packed in a basket at his feet, two jugs near his hand, he seems to be resting after a long, hot day.
The stone steps of the street are old and worn. The rooftops of the ancient buildings on either side are dilapidated.
Skillfully used tones of black, browns, and grays give the impression of the effect of time upon this place. Sunshine seems to radiate through a yellow cast. Touches of red and green could symbolize past happy experiences.
Truly, the present is the key to the past, and even today we can relive the marvelous experiences of centuries gone by-just take a peek into a tiny street In Old Safad.
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