Photograph

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.

This black and white photograph of Kansas City features several of the city's early historic buildings. Bold signs on buildings stand out amongst the structures, most notably marking the Westgate Hotel, the New York Life Building, and the New England Life Building in position to one another across the cityscape. The predominantly brick structures beneath the smoke-stack driven haze of the skyline complete an image of an industrializing city.

Like thousands of other families in the 19th century, the Hixons took advantage of photography as an affordable way to capture images of loved ones. During his own career, Hixon contributed to the development of a new, less formal type of studio portrait that emphasized individuality and personality rather than relying on standard props or formal poses. In this photograph, the featured baby is smiling wide-eyed against a floral backdrop.

Like thousands of other families in the 19th century, the Hixons took advantage of photography as an affordable way to capture images of loved ones. During his own career, Hixon contributed to the development of a new, less formal type of studio portrait that emphasized individuality and personality rather than relying on standard props or formal poses. In this photograph, the featured baby is smiling wide-eyed against a floral backdrop.

This enlarged reproduction print was a paid political advertisement titled "Bring Downtown BACK!-New Arena Symbolizes New Day for Kansas City" that ran in the August 2nd, 2004 issue of the Kansas City Star. The advertisement notes it was paid for by Citizens for a Downtown Arena, Lee A. Moore, C.P.A., Treasurer. The graphics include a caricature of the downtown landscape which highlights many architectural landmarks such as the Kauffman Center of Performing Arts, River Market area, Sprint Center, Union Station, Western Auto, etc.

This is a photograph from behind the bronze statue of Sir Winston Churchill in London's Parliament Square. From this angle the photograph creates the sense that Churchill is stepping past the viewer, leading their gaze to the icon of the Palace of Westminster, Big Ben. Also from this angle, one gets the sense that this statue of Churchill is larger than life, perhaps even larger than Big Ben, clearly expressing its 12-ft height and also the legacy that late Prime Minister left on the UK.

This photograph offers a view of the Kansas City, Missouri skyline at sunset. Recognizable are the Oak Tower, City Hall, and Kansas City Power and Light buildings which are integral to the famed skyline. However, some of the more modern buildings included in the contemporary skyline known today are missing, suggesting this photograph is older and was perhaps taken between the 1960s through the 1990s. The railways of the West Bottoms cross the lower portion of the photograph and overpasses follow suit above them. The city itself lies beyond and beneath a beautiful expanse of clouds.

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.

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