STORIES
STORIES
The story of Julian Ritter’s life, more often than not, overshadows his accomplishments as a great artist. His was a bigger-than-life persona that propelled his spirit, and allowed him to delve ever deeper into the mysteries of his art. For in his art he perused the mysteries of beauty, of love, and indeed of mortal life and spiritual existence.
I welcome input from all those who knew Julian. All the stories add ever more texture to a life well lived. We will seek to know more and to understand his relationships with his women and his lovers. In that, we will look into the least known of all, his one true love, Hilde. We will explore the long, tumultuous affair and relationship with Laurie. We will find out first-hand what happened on the infamous “Boat Trip,” sailing the South Seas on the Galilee, only to be forlornly cast adrift, lost at sea after a crashing storm.
We will dig up secret manuscripts, and gain insight into Julian’s unique and inspired world. A world filled with voluptuous naked women, turpentine, cadmium red and yellow, wafting smoke and rich tobacco, Mozart playing in the background, along with the canaries and parakeets singing joyously.
This website is evolving. We will certainly display the art. The ART of the Master. First-off, I will display some of the paintings from the Silver Slipper Collection. This is a series of paintings Julian did for, and which hung at, the Silver Slipper Casino (and reportedly the Frontier Hotel). Howard Hughes later owned the properties, and when the Summa Corporation settled the Howard Hughes Estate, I purchased the entire collection from the Summa Corporation in Las Vegas. We will look for and display prominent pieces, as well as obscure pieces we come across, and those any of you may want to share. Our most recent additions are the collection from the Bimbo’s 365 Club in San Francisco, as well a piece called Bachelor’s housekeeping, currently in the permanent collection of the de Young Museum, in San Francisco.
And with all of this, the most important aspect of all will be to explore Julian’s art. He painted as the Old Masters painted, with glazes. He mastered the technique. We will explore the subtleties of his art, his methods, and his techniques. A lot of what I’ve seen and heard about Julian is almost an apology. Apologizing that he wasn’t a Big Name, or that his work is not in Big Galleries or Museums. While it is true Julian disliked Galleries making money on his hard work. The fact is, Julian had an extensive history of Shows and Exhibitions.
Fame and fortune in the art world is more about people of wealth attaching their names and money, usually in the hopes of their own aggrandizement. Success in the venue of institutions such as museums has more to do with the politics of museums, and what will benefit a director or curator in his/her climb “to the top”. I am not saying that that kind of success or recognition isn’t nice. But I am saying it should not be the sole measure by which we judge the art. Art is the sole expression of a man or woman’s soul. Laid bare to be seen by the world, lest any one mortal has the right to “judge.” I think not.
We will learn about the cast of characters that so ravenously took part and drank in life with, through, and from Julian. For Julian was truly bigger than one life could encompass.
I was a successful Contractor, with a love for art, having dabbled a bit myself in oil painting as a child. I was privileged to meet Julian in Summerland California, in 1983.* Some would say he was crass, and uneducated, that he was rude, and a drunk. All those things may be true. And I Loved him.
Julian was the richest man I ever knew. Every day of his life he was blessed to do what he was passionate about. It was the essence of his soul to make art and to create Beauty. He imbued Spirit into his work. For the most part he did it on his own terms, some would argue to the chagrin of family, friends, and others at times. And yet, Julian succumbed to the financial realities and his fame. Painting Clowns and Nudes long after he wanted. He told me of the spiritual masterpieces he dreamed of, and also told me he was a “whoore~”, for painting nudes for customers. That was after I had given him a sizable check, in deposit for a commission. And he laughed when he told me that, knowing all too well it was still his bread and butter.
Julian didn’t profess God, but he saw Spirit in life, in the life of everything. He told me about the Spirits in the Galilee. He told me about Spirits in all animals. Once, as I was about to step on a spider in his dining room, he shushed me, and told me to scoop the spider up and take him outside. Telling me all things had Spirit, and to never never kill Spirit.
I was privileged to watch him paint and I was intimidated by him. Only because he was so amazing in my eyes. To watch him bring a painting to life by glazing over it with a rumpled up paper bag, and some color. To watch as he’d explain how to “turn” the figure using a cool compliment in the skin tones. To see the twinkle in his eyes, as his eyes gazed over a woman’s body. When he painted a commission of my wife Yvonne, I had the audacity to ask him to fix the fingers on her hand. He had obviously (to me) not taken the time to render it, and paint it. He told me, ` I don’t make money painting hands. They pay me to paint tits and ass.’ Then he begrudgingly fixed it.
I learned later, that my request would have normally been cause for Julian to throw someone out of his studio. I think Julian liked me because I truly appreciated the Genius of his work. To this day I remember vividly, sitting in the studio watching him paint. Listening to Mozart, and watching the smoke waft upward from his pipe, and making sure his glass of Brandy was always full. Julian liked his little Goodies, and I always took him a bottle of good Brandy. A “Goodie”.
The female form has been the favorite subject of painters throughout the centuries and present-day artist are no exception. Julian was celebrated for his portrayals of Las Vegas Showgirls and clowns, part reality, part fantasy. Ritter was at work on these in the late 1940’s and fifties, creating paintings that were risqué for their era and consequently ideal decor for the various casinos in this racy town. The Silver Slipper Casino (later owned by billionaire Howard Hughes) was one of Julian’s best clients. Julian sold 35 paintings to the Silver Slipper over a long career.
It is these paintings that now form the core of a collection of Ritter’s work, owned by Greg Autry, himself an artist as well as a collector. Ritter befriended Autry who began to collect Ritter’s paintings as well as commissioning major works throughout the 1980’s. When Autry learned that the Silver Slipper was about to be demolished and the paintings were to be auctioned, he wasted no time in purchasing the entire collection from the Summa Corporation.
In the process, Autry also acquired Ritter’s famous clown paintings, a subject the artist continued to explore over the years. The Clown paintings are Ritter’s commentary on the opposite sex, the counterpoint to his showgirls and nudes. He would jokingly say that men (including himself) acted like clowns around beautiful women. These disheveled but ever hopeful suitors, painted with a confident brushstroke and brilliant jewel colors, became as collectible as Ritter’s showgirls and the subject of a series of collector porcelains.
Such themes as Showgirls and clowns are indeed crowd-pleasing, but what sets Ritter’s work apart from the ordinary is their consummate artistry. Julian was truly a Master Colorist and Draughtsman. Indeed, Julian was well trained. He attended the Chicago Art Institute and later won a scholarship to the Art Center School in Los Angeles. It was then, under the tutelage of revered art instructor (and one of the original founders of Art Center) Stanley Reckless, that Julian was introduced to figure painting. Reckless had studies worldwide including Julien’s in Paris, and the Pennsylvania Academy of Fine Art among others. Reckless passed away in 1955. Julian learned from Reckless the intense study of human anatomy, and working from the live model was the rule. This was a practice Ritter continued throughout his career.
Graduating in 1934, Ritter was soon hired at Metro Goldwyn Mayer, Warner Brothers Pictures, and other studios to paint portraits and movie sets. He also began to paint portraits of prominent Movie Stars such as Olivia de Haviland , Claudette Colbert, Veronica Lake, and Jimmy Stewart. In 1941, two New York Exhibitions – at the Gallery of Modern Art and the Newhouse Gallery – earned Julian lavish praise and write-up in several of the prominent art registries of the day. Then with the onset of World War Two, Ritter enlisted and served as an Army combat artist under General George Patton. After the war, Julian returned to Los Angeles to raise a family and to paint, beginning an enormously productive period of his career which included working prominently in Las Vegas for many years.
Yet the biographical details tell us only a small part of the story. Julian Ritter was widely known for his passion for life, his love and respect for women, his appetite for adventure, his understanding of the human condition, and his ample sense of humor. To study one of his canvases is to know something of the man. There is the luscious color and rich shading, the sensuous line and strong composition, the witty details tucked into backgrounds – all show off Ritter’s complex personality.
One individual who knew him well is Janet Boyd, one of the most famed Showgirls in Las Vegas history. Ritter’s portrait of Boyd, painted in the early 1970’s, became the largest selling nude print in the world at the time. She modeled for the artist over the decades and speaks of their times together with a voice full of laughter and warmth. Janet says “Julian became a part of the Tapestry of my life”. As a dancer, Boyd understood what poses would look best, translated into paint on canvas, and Ritter in turn made the most of the beautiful line and compositions offered. Paintings such as Las Vegas Fantasy, and Janet are the result. Janet Boyd and Greg Autry have become dear friends and communicate often today. Not a conversation goes by, without some story about Julian being remembered. Ritter is also well known for his ability to represent the translucency of flesh through his use of glazes. His figures’ skin tones have a remarkably life-like yet ethereal glow reminiscent of the best work of the European Masters who developed the technique of glazing that are the hallmark of Ritter’s style.
In recent years, glamour art, from Vargas pin-ups to modern Olivia style nudes, have come to command respect and high prices in the art market. Certainly the paintings of Julian Ritter deserve a fresh look and renewed appreciation. The paintings in the Greg Autry collection merit a place in the history of American twentieth century art as well as in the history of Las Vegas, and California, where he produced some of his finest works.
GREG’S PURCHASE OF THE SILVER SLIPPER COLLECTION
I had known of the Silver Slipper collection for some time but had not actually seen it. I had inquired about buying a couple of the paintings, and was rebuffed because the Silver Slipper was part of the Howard Hughes Estates, and was tied up in litigation for years. Then one day a friend (Scot Fawcett of Marinita Development) who collected Las Vegas memorabilia mentioned to me that the Silver Slipper was going to be demolished. After a couple of hurried inquiries it was confirmed to me that the estate of the Billionaire had been settled, and the property was being purchased by some guy named Steve Wynn. The property was to be demolished in a week and the art work was to be auctioned off. I contacted the Summa Corporation office in Las Vegas and made arrangements to go through the Casino to view the paintings. I got there the next day and the preliminaries of demolition were already taking place. I spent several hours touring the building (with a guard – I guess they were afraid I would steal something) and putting together an appraisal of the collection. Workmen were dismantling old bars, and anything that might be of value, for a potential auction, and before the wrecking ball came down. The paintings were actually hung on the walls with gigantic screws. Screwing the Frames onto the walls. In some cases Nailed onto the walls. And these were beautiful gold leaf and gilded frames. A few of the pieces had been covered with sheets of clear acrylic.
There were two very large paintings in the entry. Hung up high. A reclining Nude and a large piece with multiple figures. Amazingly painted. I was awestruck, to see this amazing art unattended and uncared for. The guard going around with me told me that they were going to throw out some of the painting because they were just old, smelly, and moldy. Indeed they did in fact smell of tobacco from years of neglect. Thank God, none of the painting had any mold. And actually after getting them home, I spent years having many of them cleaned and frames restored. I never allowed any retouching, they have only been cleaned.
All of the frames were original, and in fact had been done by Frame Masters in Los Angeles. Leo and Herman owned Frame Masters, and I took several pieces back to them. They were so sweet and so delighted that the pieces came back to them to have the frames cleaned and restored. A couple of frames were in such bad condition that I had to replace them. And these are frames that are Gilded in 18 and 24 Carat Gold leaf, by Craftsman of the Old World. Julian had introduced me, and I understood why Frame Masters was the only framer her would use. They were true artist and craftsman, as was he.
So as we were touring the building we went through all the lounges, the stage, behind the stage, and every room in the building. Every room except one, which I couldn’t get into. The guard said it had been Howard Hughes private office. He said there was nothing in there and that he didn’t have the key with him. So when I got done with my tour I had a total count of 27 paintings.
I went to my car, tallied things up and decided on about six painting I really wanted. I went back over to the Summa’s offices and asked the receptionist if I could purchase the paintings since I was already here. I told here there were six that I wanted. She asked me to wait and disappeared into a door behind her. To the nether offices in the dark confines of the big time bosses – well thats my description. She went back to the Summa Corp’s executives. She came back in about 15 minutes and apologized, but she said, that paintings would be auctioned off individually. I protested, but she was quite firm that I would have to bid on the paintings individually at auction.
Now I had my Ire up ! Who did the Summa corporation think they were anyway? I went home, disappointed. Not defeated. I tallied up what I thought the entire collection was worth. And I debated what to do. Well, it was worth by my calculation several times what my mortgage was. I was determined, I wanted those 6 pieces. So I would have to buy the entire damned collection. But I could not risk a bidding war. Which I surely may miss out on the pieces I wanted most.
Fortunately, I had a very good banking relationship. And in those days, unlike the Remote Corporate Banks today, the Branch Manager actually had some authority and Power. So I went to the Bank, got the manager and we sit down and I tell her, I need a personal loan of x amount of dollars. She goes into the standard, `I need some papers filled out, what’s the loan for?, how will you secure it ?…yada yada yada’. And I said I do not have time for all that. I need a Cashier’s check now, paid to the Summa Corporation. So, on my signature and personal guarantee, I was out of the bank in about 30 minutes, on my way back to Las Vegas.
I walked into the offices of the Summa Corporation late that day, at about closing time. The same receptionist looked at me, recognized me, and in her very formal Receptionist voice, said “May I help you Sir ?”. I said, `Yes you May. I am here to buy all of the paintings in the Silver Slipper. Now’. And I laid the Cashier’s check face up, facing her, on her desk. She looked down at it and her jaw literally dropped. She stood there with her mouth wide open looking down at the check. After she regained her composure, picked up the check, and excused herself as she took the check to the offices in back. I sat and read magazines. She was gone for almost an hour and when she came back she said Mr. Autry your purchase is approved, and presented me with a Sales receipt, which said I had purchased all of the paintings in the Silver Slipper. I was also told that I had to have the paintings removed within 72 hours, as the physical demolitions of the building was to begin.
I was elated, excited, and nervous. I went home, contacted my neighbor across the street, Mike Roth, who was on the Culver City Police Department. I told him I needed an Armed Guard. I rented a U-haul the next day, and Mike and i drove back to Las Vegas, and got to the Slipper mid morning. We were on top of ladders with screw drivers, screw guns, and hammers, prying, and unscrewing the frames on the walls. It was a circus with all the activity around. I could just feel that big wrecking ball coming down on my head. So as we unscrewed and loaded painting we had to keep track. I counted. Mike Counted. We recounted. 7, 8, 12, 15. We kept counting. We kept checking room after room to make sure we didn’t miss or forget anything. And then we came to this room where the door was locked. It was that same room the Guard had said he didn’t have a key for. Oh Yes, the Silver Slipper guard was watching us all the time. I told him I needed the door opened. He said No.
He told me that was a private room of Mr. Hughes and no-one was allowed inside. I told him I have paid for and had a receipt for ALL of the paintings in the Silver Slipper, and I wanted in that room. He still said no. Then I explained that I would have my attorney get a Writ, and that I would stop the Sale of the Property , stop the Demolition, and bring to a stop the whole deal of this new Mr. Wynn guy. OK, I confess now, i was just full of wind, but I must have sounded very convincing. He talked to his supervisors or somebody, and came back with a key and opened the door to let me in. When I walked into the small room, there against the wall was a large gorgeous reclining nude by Julian. I took it and took it to my truck. I had purchased all of the painting at the Casino. And that painting was indeed placed there by Howard Hughes year before. I’m sure today, that that room was where the Bosses were keeping their own stash. Whatever mementos they were pilfering for themselves. I purchased 28 pieces now known as the Silver Slipper Collection. And we’re told that there was 35 or so, painting which Julian had sold to them over the years, including paintings originally hung in the Frontier hotel. Seven paintings are somewhere out there. Taken as mementos of the Glory Days of old Las Vegas.
Finally having loaded all the paintings, and exhausted, and dirty, I got the receipt corrected, and and drove home to Culver City.
Sometime months later, Julian and his son Michael came down to see the paintings. I promised Julian that I would take care of them and treat them with the respect they deserved. And for 25 years, through Divorce and financial peril I have honored my word to Julian. That is how I came to own The Silver Slipper Collection, by Julian Ritter.
Julian Ritter was a well known artist and bigger than life personality. He painted nudes of showgirls, “hookers and whores” [his words], and became elite in the Vegas world. After his wife passed away, he set sail from Santa Barbara on the 45′ Galilee, for a lifelong dream of sailing the world. Months later, broke and in jail down in Costa Rica, he was bailed out by 17-year-old Laurie Kokx from Santa Barbara. Together, they set sail for the South Seas on what would be a three-year journey. After spending time in Tahiti and Bora Bora, Laurie and Julian took on another crewman, Winfried Heiringhoff, and then set sail for Hawaii on their final leg home to Santa Barbara.
But the seas were rough, and the Galilee and its crew unprepared. Not long after leaving Bora Bora, the Galilee ran into trouble. Soon the mast was disabled, the radio and motor out. Then a leak sprung down below. For 89 days the boat was lost. Julian, Laurie, and Winfried clung to life, scraping algae off the side of the boat. For 59 days there was no food. They weakly hung a sign atop the cabin, “NO FOOD, NO POSITION.” Praying a passing vessel, or plane, or God, would see them and help.
From the California coast, a friend and patron of Julian’s, Dr. Al Blackburn, tirelessly worked his ham radio, coaxing, pleading, demanding that anyone and everyone be on the lookout. Imploring the navy, the Coast Guard, and all merchant ship to be aware and to look for the Galilee.
On September 14, 1970, the USS Niagara Falls spots the ailing vessel, north of Hawaii and 250 miles “off-course.” Rescued at sea are Julian Ritter 61, Laureen Kokx 22, and Winfried Heiringhoff 28.
In November 1970, the USS Navy’s COMSERVPAC INFORMATION BULLETIN features a story titled “Rescue at Sea,” including the following:
“The Galilee was 400 miles northwest of Hawaii. Niagra Falls crew members who boarded the ship found the three survivors starving, exhausted, and burned raw by wind and sun. They were gaunt and emaciated and barely able to stand,” noted LCdt P. M. Young.
The ship’s doctor, Lt Philip A. Becker, said his main concern in keeping them alive was their total loss of body weight. Dr. Becker estimated they could have stayed alive for only four more days at best.
After boarding the Galilee, and when crewman from Niagara Falls asked Ritter to go aboard their ship; he refused until assured his craft would be well taken care of.
When Niagara Falls arrived in Pearl Harbor, newsmen from all media were waiting to go aboard for a news conference. Along with the survivors were Captain Edgar M. Cocke, commanding officer of Niagara Falls, and the attending doctor, Dr. Philip Becker.
The ship’s doctor states the men were within days of death, and the woman was so close to death, he takes two days of intensive medical attention aboard the Niagara, before declaring Laurie out of danger. “She was hours from death,” the doctor later says.
As Winfriend departed, he let out his sentiments: “Hip, hip, hooray for the U.S.A.!” Laurie, Julian, and Winfried all expressed their heartfelt thanks to the crew of the Niagara Falls. And in one last gesture, Julian left a painting of a reclining nude, probably Laurie, with the ship as his gift to the crew of the Falls.
And this is simply the back story of the life of Julian Ritter. An artist who was master of the 20th century, yet remains obscure in the art annals. A man, a personality, a character, an artist, who was bigger than life.
September 14, 1970
The Pacific
USS Niagara Falls Rescues the 45′ Yawl, the Galilee.
Lost at Sea 89 days.
On board are Julian Ritter 60, Laureen Kokx 20, and Winfried Heiringhoff 28.
I recently had the opportunity to go to San Francisco, where Julian had a very big presence early in his career. This subject will be explored in depth in my upcoming new book.
In 1939, Julian was hired to paint murals for the International Expo in San Francisco. This was an international forum for the City, and be reminded, only 30 years removed from the massive earthquake that all but destroyed the City. Julian’s work at the Expo was very well received, and led to several opportunities that would encompass the next 20 years plus.
He was asked, and accepted, opportunities to show at many galleries throughout San Francisco, including most notably the Kotzbeck Gallery and later the Maxwell Gallery on Sutter Street — not to mention countless others. Early in his career he was showing mostly his pen and ink drawings with watercolor washes. It’s easy to assume that these forums also led to acceptance and showing of his work at The Gallery of Modern Art and The Newhouse Gallery in New York City in 1941. It was, in fact, the springboard for countless gallery shows he would have throughout his life until he abandoned galleries in favor of working directly with the patrons he endeared.
While visiting San Francisco myself, in March of 2013 I was allowed to visit the Archive department of the San Francisco Fine Arts Museum, where at The Legion of Honor, one of Julian’s early works is kept as part of the Permanent Collection. Moore and Hazel Achenbach were patrons of the arts in San Francisco and at some point, probably around the time Julian had his first show at the Kotzbeck Gallery in the late 1930s or early 1940s, Moore Achenbach saw a pen and ink by Julian, and purchased it for his collection. The piece is called “Bachelor Housekeeping” and is a superb example of Julian’s draughtsmanship. The rendering is at once representational, yet fluid and filled with spirit. I can even see Julian’s own reflection in the mirror. The piece was donated to the Museum by the Achenbach Foundation, in 1963, upon the death of Moore Achenbach.
Until his withdrawal from the gallery scene, Julian would ply his “peddling” trade and sell his painting to gallery owners, clients, and other interesting venues throughout San Francisco. Julian loved the energy, the free-spirited nature of the people. He loved the wharf, the sailors, and the boats, not to mention the early speakeasies and bordellos.
And things would change during the ’40s. He would serve in the army, and marry Hilde in 1943. In 1947 and ’48, Christine and Michael were born. He would move to a “real” home in Woodland Hills. And he became a professional artist. But nevertheless, Julian was still Julian. There is more than one story about Julian’s escapades in San Francisco.
“Bachelor Housekeeping” – Julian Ritter, circa 1939
Fine Arts Museum of San Francisco, Achenbach Foundation for Graphic Arts
Visit the de Young Fine Arts Museum of San Francisco
Read the stories about Julian’s paintings at Bimbo’s 365 Club in San Francisco
Julian Ritter’s paintings always have “sub-text” in the images. Layered with images in the forefront or the background are clowns and depictions of Lucifer, the devil. Sometimes even God himself makes an appearance. Julian liked to say that a beautiful woman makes a clown out of all men. Beautiful women and clowns were his forte.
The concept of the Las Vegas Fantasy came about soon after I met Julian. When he was working on the portrait of my then-wife Yvonne, I mentioned to him about doing a commission with lots of showgirls and a clown. We sat together one day in his studio and he did some quick “study” sketches in Conte. As the concept percolated, I became the clown. I wanted real showgirls and Julian suggested Janet Boyd should be in the painting. He had painted Janet for her famous full-length portrait, and many times subsequently.
Julian introduced me to Janet, and we began a lifelong friendship. She was invaluable in helping me put together everything needed to make the painting happen. Originally I wanted to bring all the showgirls to Julian’s studio in Summerland, California. Julian wanted all the girls to be there, interacting, at the same time. But it soon became apparent the girls schedules were not going to cooperate. Julian agreed, and we made plans to go to Las Vegas.
The showgirls in the painting are Janet Boyd and three other girls named Theresa, Helen, and Ronnie. Helen was an exceptionally buxom blonde I had met while photographing a car race at the Caesars Palace Grand Prix. Helen was the lead showgirl in the Folies Bergere at the Tropicana Hotel. Janet had been a performer in Vegas and Paris since she was young and knew everyone in town. At this time she was the Lead Showgirl in the Bal du Moulin Rouge show at the International Hotel. One of her co-dancers was a stunningly beautiful girl name Teresa. Ronnie was also a performer in the Moulin Rouge with Janet and Teresa.
This would be Julian’s first trip back to Las Vegas since be rescued from the infamous boat trip on the Galilee. His personal paintings had changed a great deal since his heyday years of showgirls and hookers. His painting was now darker, more spiritual, sometimes questioning God’s promise of good in the world. Nudes were still the most sought after subject by his customers. I was thrilled when he said he’d go to Las Vegas with me. But again, with the logistics of the girls schedules, we would only have one day to get all the girls together at the same time.
Janet knew a photographer in Las Vegas, Bob Hooper, who I contacted and worked out a deal to photograph the scene for us, with Julian there to pose and coordinate. Our time frame really wouldn’t allow Julian to sketch each girl, so he agreed to work off the photos Bob took. All Julian really needed the photos for was for reference to the faces and some color notes.
So Julian and I flew to Vegas the night before. We got to see Janet perform in the Moulin Rouge show, and then attempted to go back to our room at the Tropicana. Instead Julian heads to the bar, where he stays till the wee hours of the morning. Smoking his pipe, drinking brandy, and flirting with every woman in the bar. Finally, as early morning approaches I tell Julian I’m going to the room to sleep. I left him there as happy as a man could be, with women draped all around him. I only got a few hours sleep, and have no idea if Julian ever came to the room.
The next day, Julian’s “bright-eyed and bushy-tailed” when we show up at Bob Hooper’s studio. My makeup artist Christine Boyar is there, and the other three girls show up. Janet is there coordinating, making introductions, and moving things along. Janet had managed to put together a room full of lingerie for the girls to choose from. She borrowed all the costumes and wardrobe from Penny France, who owned a store in the Fashion Show Mall called Midnight Lace.
We spent the next few hours preparing, with Bob and his wife Teresa putting together the set and lights, all the girls trying on outfits, and getting their makeup and hair done by Christine. And then me, finally, in makeup. Julian all the time was observing the girls. The movements, their expressions. How they held their bodies, moved their arm, legs, hands, and feet. He was truly a master and observed the smallest detail of each girl from the time they arrived at the studio long into the evening when we finally departed.
It was probably mid afternoon when we actually got on the set to start shooting. We started off goofing around, and even Julian got into the act. Sitting in a chair with Janet sitting on his lap, me and all the girls around him. As Julian was prone to, his hands were never still and I wondered what mischief he was getting into with Janet sitting on his lap. We shot pictures for hours. Various configurations with Julian overseeing each and every one. Once I got in the center of things, well, things got worse. I was a terrible “model.” I was stiff, almost frozen. Bob tried relentlessly to get me to be more animated and to loosen up. But finally we got what we needed.
It was a long, exhausting, and totally exhilarating day. We flew back home, me to Culver City, Julian to Summerland. About a week or so later, I sent photos to Julian from the photoshoot we did. It was about four months later that Julian finally finished the painting. I had been up to see him several times during the time he was working on the painting, but he would not let me see it until it was finished.
When he called and told me it was finished, I rented a truck and went up the next weekend. On first sight, I was wrought with emotion. I was dumbfounded. Julian had truly been rejuvenated with our trip back to Las Vegas. He had outdone himself with one of his very finest works I’d ever seen. And as a special treat, he had gilded the painting in 22 karat gold leaf, all around the perimeter.
Trying to describe the painting in words is frivolous. “Las Vegas Fantasy” must be seen to be appreciated.
The Showgirl has long been the iconic image of Las Vegas. Emblematic of the unattainable, the fantasy, and the dreams of both men and women worldwide, they were swathed in ermine, mink, and sable. They dripped gold lamé, diamonds, and crystals, in barely-there couture costumes that no mortal woman could dream of wearing. Their allure bespoke a secret known by only a few. They were pampered and toasted, desired and protected. They were the royalty of Las Vegas, and all who came to Vegas knew that “The Showgirl” was the one common thread that kept all the dreams and fantasies alive.
Janette (Janet) Boyd was a Las Vegas Showgirl and lead performer for 29 years. She was also a model for world-renowned artist Julian Ritter. I met Janet through Julian Ritter when I commissioned Julian to paint what would become his last big Las Vegas Showgirl painting, “The Las Vegas Fantasy.” Julian had garnered worldwide attention for the Silver Slipper Collection of paintings which hung at the old Silver Slipper Casino, owned by Howard Hughes.
I had breakfast with Janet and her husband Larry Williams at Café Bellagi in the Bellagio Hotel in Las Vegas. Janet explained to me that the café is located on the grounds of the old Dunes Hotel, almost right where the stage had been. It was the very stage where she performed in “Casino de Paris.” It is, Janet remarked, “Sacred ground.” I enjoyed breakfast as Janet recounted some of her storied career.
Behind the scenes, it was very hard work creating all that allure and fantasy. The average career of a Showgirl was about 7 years, 10 years tops! The pay was actually mediocre, about $150.00 a week, plus endless hours of dance classes, rehearsals, and promotions. Those extra hours were unpaid, and part of the job.
Janet Boyd remains the “Iconic Nude Showgirl.” She stood six foot two on point, tall and straight, with a perfect torso that some said resembled the Venus de Milo. When she walked through a room heads turned and a hush would fill the room. Her alabaster skin was perfection rivaled only by the marble used by Michelangelo. Her face a most beautiful combination of high cheek bones, big doe eyes set wide apart, straight nose, and pouty pink lips, all framed in long, lustrous, flowing red hair. Julian Ritter pronounced her derrière as the most perfect he’d ever seen. Her legs were insured for over a million dollars and said by the Lord himself to go “all the way to Heaven.”
Janet danced in Las Vegas for 29 years, in a classic tale of starting in the chorus line and working herself to the top. She was trained in dance from a very young age. Janet credits her mom, Helen Purdy, as the single most important factor in her success and for being able to dance so long, through years of ballet training and dance classes.
Born and raised in Everett, Washington, by her own words she lived an idyllic life in a small town. She developed a love of horses early on, and attended an all-girls private Catholic school, Holy Names Academy. A happy, beautiful teen-age tomboy, she moved to Southern California at 14 years old when her mom came to take care of family friends after they were in a terrible car accident. She was not happy about the move to California, yet adapted well and made new friends quickly with her outgoing personality and wit.
She learned to belly dance and at 15, was off to Chicago to perform as “Zubeda” at the Six East Club. Later that year she would dance in “Harem Holiday,” in Riverside, California. At 16 and lying about her age, she auditioned for Frederick Apcar’s “Vive Le Girls,” and got her first job dancing topless at the Melodyland Theatre in Anaheim, California. The show’s choreographer would be the legendary Ron Lewis.
Janet Boyd danced in all of the iconic venues in Las Vegas and in some of the biggest shows in the town’s history. Frederic Apcar took her to Paris to train and dance in the original “Casino de Paris,” in Paris, and to dance in the show when it opened for the first time ever outside of Paris, at the Dunes Hotel in Las Vegas.
Janet had been Julian Ritter’s model and muse for many years and was known as the most photographed woman in Las Vegas, having been photographed numerous times by photographers such as Robert Scott Hooper and Rollie Hendrickson. She was photographed for every magazine around from Fabulous Las Vegas to Playboy (four times), and for numerous articles and advertisements. Janet was the subject of two Playboy articles by Dan Greenburg, and one of the featured dancers in the 1986 documentary Stripper, directed by Jerome Gary. She was featured in shows, promotions, and exhibitions, including a retrospective of Hooper’s work at the University of Las Vegas.
She danced for some of the biggest-name producers in Las Vegas, including Frederick Apcar, Harold Minsky, and Barry Ashton. She danced at the Silver Slipper and became a solo star as “Astradella.” Janet was the last “nude showgirl” hired by Harold Minsky himself. In one of the most scandalous shows ever staged in Las Vegas, she starred in an erotic dance duo called Double Exposure with Francine Farrar at the Fremont Hotel.
Janet danced in the Reno production of “Bal Du Moulin Rouge,” and then in Las Vegas for another legend, Walter Painter. She was one of only five Reno performers selected to be a part of the Moulin Company when the show moved to Las Vegas. “Bal du Moulin Rouge” was the last big original production in Las Vegas, with original costumes, music, choreography, and live orchestra.
The show opened at the Hilton International on the biggest stage in Las Vegas — the very stage where Elvis appeared. Over the years, Janet was seen by every big name in the business, and called most of them by their first names: Sammy Davis Jr., Dino, Elvis, and “Mr. Sinatra.”
She hung out with Baron Hilton at one of his birthday parties and talked about glider planes, after popping out of his birthday cake topless. It was at the International Hotel that Julian and I; got to see her perform in the “Bal Du Moulin Rouge” in 1984.
Most fortuitous for me, Janet became muse and model for artist Julian Ritter, and circa 1973 posed for Julian in Summerland, California, for what would become the most iconic showgirl portrait in history, simply known as “The Portrait of Janet.” The painting stands almost eight feet tall. Julian introduced me to Janet in 1984 when he and I were in initial discussions about a commission, which when completed would become known as “The Las Vegas Fantasy.” Janet would model for Julian again with me and three other showgirls.
For all the fame, glamour, and beauty, her story is one of struggle, determination, and a will to be the best person she could be. When I asked her how she handled the adoration and claims to beauty, she laughed heartily and demured by saying, ‘I was really a “tom-boy.”
Today, Janet Boyd lives in Southern California, married to an internationally respected estate and tax attorney, Larry Williams. What she is most proud of is raising a daughter as a single working mom, a daughter who has become a highly successful young woman in the world of advertising.
Janet is now Vice President of the Long Beach Shakespeare Company, where she continues to promote and fundraise for the company. She also does speaking engagements at various functions around the country. What one might expect of a Nude Las Vegas Showgirl is not what one might get when talking about Janet Boyd. She was, and remains today, an emblematic figure of the glamour and beauty of Old Las Vegas.
*Photos provided by various sources and used with permission.
In 1939, the Golden Gate International Exposition opened on February 18th, on a manmade mudflat island in San Francisco Bay called Treasure Island. The theme of the overall fair was “Pageant of the Pacific.” It would come to be called “The Magic City,” and lasted for only two seasons. The Great Expo was intended to celebrate the opening of the recently completed Golden Gate Bridge and Bay Bridge, which were to bring great revelations to San Francisco. The buildings of the Expo were monumental, reminiscent of the “White City” of Chicago’s 1893 World Fair. At night, the buildings were lit in multi-colors and could be seen a hundred miles away.
In the 1930s, the WPA (Works Progress Administration), or the “Second New Deal,” would also act to provide jobs to the great many unemployed workers throughout the country. The “Federal Project Number One” employed artists, writers, musicians, actors, and directors from around the country, instituted with the intent of getting America back on the road to financial well-being after a decade of suffering the greatest financial depression in the country’s history. The WPA would interact with state and local agencies nationwide, to implement large arts programs. Applications from artists were received in the thousands, from around the country.
Julian was out of work in 1938 with little or no prospects. When Julian needed money, he would load a bunch of paintings into his car and head to art galleries to peddle his wares. Thus was the method which began several successful relationships with galleries in San Francisco; and a “peddler” Julian always remained. He was also aware of all the hype and publicity surrounding the upcoming Golden Gate International Exposition to be held on San Francisco’s Treasure Island, and he definitely intended to seek out opportunities — although he did not know how he would do so.
In its infancy, the American Scene Movement is a somewhat depressing, albeit realistic, view of working class Americans. Fueled by Prohibition and the Great Depression, the gaiety and frivolity of the 1920s had long given way to lives of hardship, self-doubt, and a preponderance of despair. This background, magnifying the harsh realities of Julian’s upbringing and early childhood, makes it hard to imagine anything but dark, emotionally depressing figures emanating from Julian’s imagination around that time.
American Scene Painting was intended to convey a sense of nationalism and romanticism about everyday life in 1930s America, from small town and rural America to the big cities. Some consider the American Scene Movement a precursor to “Modernism.” Painting murals in buildings and expositions was coming into vogue as a helpful way to employ artists. Many artists were being influenced by the likes of fresco muralist Diego Rivera. Rivera became known for making political statements in frescos, painted in the perfect spaces for such statements: public buildings!
Julian was young, full of life, and confident in his abilities. Never afraid of hard work, Julian took pride in his working-class nature and background. Beverly Hills architect Mark Daniels was in charge of the Mines, Minerals, and Machinery Building at the GGIE. Julian jumped at the opportunity to paint a major statement piece when offered by Mark Daniels. Daniels was impressed with Julian’s repertoire of paintings and pen and ink sketches when the two first met.
Julian never applied to the state nor to the WPA as an artist. However, through Mark Daniels, a purchase order was issued in December 1938 to “Julian Ritter,” by the “STATE OF CALIFORNIA-BUREAU OF PURCHASES,” which stated as a scope of work:
“To furnish, complete, install and in place on Treasure Island in the Building known as “Mines, Metals and Machinery Building”, a minimum of 1,000 square feet of murals depicting the mining industry in the United States. All work including sketches and finished murals are subject to approval by the California Commission for the Golden Gate International Exposition.”
Julian immediately liked Daniels because he was”hands-on” and not afraid to “get in and get dirty.” Daniels liked Julian’s wit and quick understanding of the process. Julian worked diligently on paper sketches and painting color studies for the various figures he envisioned. Julian worked to incorporate Daniel’s ideas and themes, with his own sense of spirit, and Daniels liked how amazingly fast and accurate Julian’s drawings were, and was amazed at the number of paintings Julian turns out as “Color Study’s.”
Some of the studies were as large as 36″ x 24″, masterfully painted, and would remain in Julian’s private collection for years — Julian unwilling to part with them until financial necessity required selling them.
An artist himself and a highly successful architect, Daniels saw Julian’s work as more than just superb draughtsmanship. As the mural unfolded in paint, he recognized the true genius of Julian Ritter. Julian would only have two months to do preliminary sketches, paint some studies to get color palette and details approved, and complete the mural. When completed, it was over 10 feet tall and almost 100 feet long. At this time there are no photos of the actual mural which have been found. There is one photo from a newspaper article at the time seen above, depicting Julian at work, painting the mural. One study painting [above] has been located in a private collection, which was sold by Julian in 1948.
For the mural, judging by the little available evidence, Julian created figures of strong, hard, rugged working men in the great industries which would define the USA in the first half of the 20th century. Rather than portraying the resentfulness of the hard times as so many other American Scene muralists did, Julian’s figures were infused with men happy to be working and swelled with that camaraderie that groups of workers and teams of people come to understand. There is an emotional uplift is Julian’s work, and architect Mark Daniels saw the spirit of Julian’s soul transfused into his work. Mark Daniel’s was also a man of distinction. With their working relationship blossoming, Daniels gave Julian additional jobs to paint for the exposition, as well as introducing him to prominent people in San Francisco, people who came to buy more of Julian’s paintings.
It was reported that all of the art on display at the Golden Gate International Exposition would amount to $20,000,000.00. Whether accurate or not, the Exposition was instrumental in propelling Julian into the ranks of commercial freelance professional artists. The 1939 GGIE would result directly and indirectly in Julian’s success, and the spread of his name and his work throughout the United States.
Because of his mural for the Exposition, he also got similar work for restaurants, hospitals, and even real estate offices. Although there is scant record today, he is known to have produced murals and wall paintings of an illicit nature for several San Francisco hotels. Bordellos in North Beach were common [see STORY about Bimbo’s 365 Club.]
After Julian’s participation in the 1939 GGIE, he was offered and accepted two shows in New York City. In 1941, Julian made his New York City debut at The Newhouse Gallery, as well as The Gallery of Modern Art. The original Fair had opened February 18, 1939, and would ultimately close September 29, 1940. The Fair’s theme, emphasizing unity between Pacific nations, would last no longer than the Fair itself. It had been planned that the Fairgrounds would become a part of the new San Francisco airport after the Fair closed. However, world events would intervene and the US Navy would take over the land and buildings as part of the upcoming war effort, building a large presence on the island, along with the new Alameda Naval Shipyard. Julian would spend the war years in the US Army, where he would ultimately marry his first love, Hilde.
Today, both the Fair Grounds on Treasure Island and the Navy Shipyard in Alameda are abandoned. There remains only one, `Main, Administration Building’ from the ’39 Expo, still standing on Treasure Island. While it is nearly abandoned, it does offer a glimpse into the ornate grandeur of the past.
There is proposed new housing and related commercial development for Treasure Island, with hopes and promises, of resurrecting the `Administration Building’ as a living Museum. And surely, somewhere, there are photographs to be found, of Julian’s work at the Fair, as well as more study paintings by Julian to be discovered.
*Photo of Julian Painting at the 1939 GGIE from Newspaper Article in the Julian Ritter Estate Archives. The Artists Estate retains all copyrights to the original image.