Orval Hixon

Jack Clifford, born Virgil James Montani, was originally from Geneo, Italy. Clifford’s vaudeville fame came from his live performances, both as an actor and dancer. Clifford was noted for his marriage to Evelyn Nesbit, a union that began in 1916, and after a fifteen year separation ended in divorce in 1933. Clifford died on November 10, 1956, at the age of 76, in New York. In this portrait Clifford is captured in a relaxed atmosphere, seated with an opened newspaper on his lap.

Orval Hixon was a Kansas City photographer whose artistic abilities out rivaled those of his contemporaries. Hixon was a master of his craft, summoning all his skill set to produce works capturing his subjects in profound poses. Hixon from an early onset pursued an interest in the arts. After learning he was color blind as a child, Orval followed a path into photography with his first camera purchased in 1898. Hixon discovered a love of photography, in 1905 he paid a local photographer five dollars to work as an assistant for one month.

During Hollywood’s silent screen era, Japanese film actor Sessue Hayakawa rivaled Douglas Fairbanks, Charlie Chaplin and John Barrymore in popularity. Hayakawa was one of the highest paid Hollywood stars of his time, making over $5,000 a week in 1915, then two million a year through his own production company in the 1920s. Handsome and flamboyant, Hayakawa gave lavish Hollywood parties that would become legendary. Hayakawa was Paramount’s first choice for the role of the "The Sheik" that launched Rudolph Valentino’s career in 1918.

The figure in this study is speculated to be Grace Darling. Grace Darling was a silent film actress best known for her leading role in "Beatrice Fairfax" (1916) as Beatrice herself, the editor of a love advice column. The film's significance comes with it being inspired by "Ask Beatrice Fairfax" the first newspaper advice column of its kind introduced in 1898 by Mary Miller, and as it was of the first film series consisting of 15 independent episodes that aired weekly. This shot captures Darling in the opening of stage curtains standing against a burlap-sheathed wall.

The identity of this man is unknown, but his persona is not. He is dressed here as the archetypal French painter in an exaggerated beret, precise mustache, painters frock, paintbrush, and wooden paint palette. Although there is no paint on his materials, one can assume that he is in the midst of working on the piece hanging on the wall behind him. He stands poised with brush to palette and head turned to the side, offering a dramatic profile of his character.

This photograph shows an elderly man seated outside of Hixon's studio. The man is purportedly a former KC Star newspaper vendor. He appears worn with disheveled hair imprinted by a hat once worn, long wiry beard, and deeply wrinkled hands. He also appears to be resting for a moment as he has closed his eyes and propped his chin on his chest. One can presume the number of stories and knowledge he has garnished over time which may explicate his worn disposition, but one can expect none less than a wealth of wisdom to accompany it too.

Born in Lithuania, Asa Yoelson-Al Jolson, known professionally as Al Jolson was a celebrated song-and-dance man who was a major Broadway attraction before gaining worldwide fame as the star of "The Jazz Singer", the 1927 film that signaled the transition from silent pictures to sound. Known as "The World's Greatest Entertainer," his legacy is complicated by the modern-day controversy over his frequent use of blackface. Jolson extended his career by becoming a popular recording star and the signing host of radio shows.

Born in Lithuania, Asa Yoelson-Al Jolson, known professionally as Al Jolson was a celebrated song-and-dance man who was a major Broadway attraction before gaining worldwide fame as the star of "The Jazz Singer", the 1927 film that signaled the transition from silent pictures to sound. Known as "The World's Greatest Entertainer," his legacy is complicated by the modern-day controversy over his frequent use of blackface. Jolson extended his career by becoming a popular recording star and the signing host of radio shows.

Al Jolson was called the greatest entertainer of his era. He was born in Imperial Russia and traveled to America with his family. He and his brother learned ragtime songs and performed in the streets. They were determined to break into show business. Assuming a common trend of the time, Al started performing in blackface in 1904. In it his performances grew more expressive; he danced, stamped, cried real tears, improvised risqué jokes, and outrageous physical gags—even sashayed about with wildly effeminate gestures.

This image captures a frontal view of an unknown person, reminiscent of famed actress Bessie Love, with a wide-eyed presence, and lips pursed demurely. The figure is draped with a cloth of soft sheen and held together by her left hand.

This portrait features an unknown vaudevillian actress dressed as Joan of Arc. She is shrowd in a linen garmet and head wrap that leave only her hands and face exposed. She turns away from the camera, offering a profile that is distinct against the black background. She holds a few long-stalked lilies to her torso with the flowers themselves positioned around her head. The two lilies, one out of focus behind her head and the other in focus hugging the curve of her chin, work to frame her face while also appearing as extensions of her head wrapping that creates a peculiar overall look.

In this portrait a vaudevillian starlet strikes a bashful pose, positioning her hands over her chest and the scarf of sheer material draped over it. She wears a headscarf and haircut typical of the flapper style. Although she turns her face away from the camera, she keeps a sensuous eye directed at it. Photo manipulations applied by Hixon in the development process emphasize her eyelashes while other markings obscure the bottom edge of the photograph and consequently her breast.

In this photograph stands an unknown woman against a stark black background holding an issue of Shadowland, a popular theater magazine that circulated in the 1910s-20s. The figure wears a tattered shirt and skirt and polka-dotted headscarf, completing a pirate-inspired outfit. She holds a large issue of Shadowland that covers her midsection and that has been perhaps brightened by Hixon in the development process to stand out against the figure and the photograph as a whole, appearing almost as if it was transposed onto it.

This portrait is of a WWI pilot, but it is unsure as to whether he was a real pilot or just a silent film actor. Regardless, this up close shot captures the deep emotion residing in his facial expression, one that ponders all that he's seen over a burning cigarette. The pilot gear framing his face makes the profession appear as a part of him, claiming him as inseparable from his experience.

Australia-born Annette Kellerman took up swimming as treatment for a childhood condition that may have been mild polio and became a world-record holder in the sport. A pioneer of the one-piece bathing suit, she was famously arrested in Boston for indecency in 1907. The "Australian Mermaid" parlayed her notoriety into a successful career in Vaudeville and on the screen, making her feature film debut in 1914's "Neptune's Daughter." MGM turned her life story into a movie, "Million Dollar Mermaid" starring Ester Williams, in 1952.

Armand Kaliz was born in Paris, France in 1892. He made his Broadway debut in "The Hoyden" in 1907 and became successful in vaudeville and silent films. He appeared in films such as The Temptress (1926) with actresses such as Greta Garbo, making some 82 film appearances between 1917 and 1941, although because many of his appearances were small many more exist uncredited in films. In this portrait, his stare comes from under a stern brow and is fixated on a captivating subject. Smoke trails up from his cigarette and takes form in the smudging of Hixon's photo manipulations.

Rose Marie Mazzetta was the last theatrical subject photographed by Orval Hixon in Kansas City. Mazzetta began performing as Baby Rose Marie at the tender age of three. She became an NBC radio star at age five and at age six made her acting debut in the 1929 musical short "Baby Marie: The Child Wonder." Mazzetta joined Rosemary Clooney , Helen O’Conner and Margaret Whiting in a musical revue,"4 Girls 4," that toured for eight years starting in the 1940’s.

Beth Beri was a dancer who appeared in two musical revues, "Jack and Jill" (1923) and "Rufus LaMaire's Affairs" (1927). Between those gigs, she played in the musical comedy "Kid Boots" (1923) which was successful enough to be produced in print and on Broadway. She is depicted here in humble costume wearing cut-off overalls, an oversized button-up shirt, and a sun hat. Her feet are postured coyly, shifting her weight away from the object of her attention. Yet as she peers out of the corner of her eyes and prepares to take a bite of fruit, she comes off as playful and seductive.

Beth Beri was a dancer who appeared in two musical revues, "Jack and Jill" (1923) and "Rufus LaMaire's Affairs" (1927). Between those gigs, she performed in the musical comedy "Kid Boots" (1923) which was successful enough to be produced in print and on Broadway. In this portrait Beri is positioned kneeling towards an open vase that appears to have smoke rising from its opening. Beri is attired in an off shoulder full length dark dress with pattern top and diaphanous skirt.

A sepia toned photograph of Beverly Bayne. Beverly Bayne walked into Chicago’s Essanay Studios when she was 16 and immediately turned heads with her big brown eyes and soft, dark hair. She became a pioneering silent film star of the 1910s, forming a popular romantic duo with matinee idol Francis X. Bushman – most notably in 1916’s Romeo and Juliet. Their onscreen chemistry was real; they married in 1918 but it begot scandal as Bushman had been divorced from his wife for only three weeks.

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