Copyright © 2021 by Wendy Waszut-Barrett
In 1922 Thomas G. Moses wrote, “Did two pictures for Jim Slipper at Los Angeles to be used in his projecting room; both are transparent.” In 1922, Slipper was running a motion picture supply company. The “1922-1923 Film Book” listed J. Slipper & Co. as a California supply dealer, located at 728 Olive St. Los Angeles.
Moses had known Slipper for quite some time, as Slipper also started out as a scenic artist in Chicago, another Sosman & Landis employee.
James “Jim” Slipper was born in 1864, the eldest of four children to John (b. 1830) and Louisa Slipper (b. 1845). Both John and Louisa were born in England and emigrated to the United States in 1832 and 1845, respectively. They married, moved north, and began raising a family in Canada, with John working as shoemaker. The Slippers celebrated the birth of four children: Levi “Guy” (b. 1872), Isadore (b. 1867) and Ida (b. 1868) and James (b. 1864). The Slipper family briefly moved to the United States and were included in the 1870 US Federal Census. That year they were living in Corry, Pennsylvania. It remains unclear when the family returned to Canada, or where Jim Slipper began his career as a scenic artist. His younger brother Guy emigrated from Canada to the United States in between 1889 and 1891; conflicting census reports. However, by 1889 Jim Slipper was living in Chicago, publicly listed as a subscriber to the Chicago World’s Fair (Inter Ocean, 28 Dec. 1889, page 9). By 1900, all of the Slippers were living in Chicago. The 1900 Census listed John and Louisa Slipper living at 178 N. Clark St. with their son Guy, daughter-in-law Minnie, grandson Fred, and daughter Ida. Although Guy initially found employment as a barber and carpenter, he would eventually enter the film industry in California by 1913, working as motion picture operator, salesman, and assistant manager before taking the reins J. Slipper & Co.
In regard to Jim Slipper’s personal life, he married to Nellie M. Curren (b. 1876) in Chicago on Oct. 26, 1898. Unfortunately, their marriage did not last, with the couple divorcing in 1913.Jim’s younger brother Guy was also married to a woman named “Nellie” – Nellie Tuohy Their marriage announcement was listed in the Chicago Chronicle, on Jul. 14, 1896, (page 10). Guy would eventually work with his brother in the motion picture industry, so here is a little context for Jim’s younger brother. Guy’s first marriage did not last long. It was tumultuous start, with the couple appearing in court twice within the first six weeks of their marriage. The first time Mrs. Nellie Slipper charged her husband with assault and battery. Two weeks later, and Mr. Slipper charged his wife with making threats and smashing wedding presents during a honeymoon quarrel (Chicago Chronicle, 2 Sept. 1896, page 9). The marriage soon ended in divorce. By 1899, Guy married his second wife, Minnie. By 1900, Guy, Minnie, and Minnie’s 14-yrs. old son were living with John and Louisa Slipper in a very full house. That marriage was also not destined to last. Buy married for a third time, wedding Florence C. Brown in 1909. The two celebrated the birth of one son, Glenn, and moved to California where Guy began working in the motion picture industry.
Back to Guy’s older brother Jim. In the late 1890s Jim Slipper was working as a scenic artist, likely at Sosman & Landis. It was his move to Detroit and continued work as a scenic artist there that signals a connection to the prominent Chicago scenic studio. In Detroit, Michigan, Slipper became the scenic artist for the Pike Theatre Co. The Pike Theatre Co. was managed by one-time Sosman & Landis secretary and treasurer David H. Hunt. Sosman & Landis initially invested both capital and labor in the endeavor, establishing the theatrical management firm of Sosman, Landis & Hunt. The business endeavor did not last, and eventually Hunt solely managed the Pike Theatre Co.In 1901 the Pike Theatre Co. toured the country under the management of Hunt, including stops in St. Paul, Minneapolis, Washington, Baltimore, and New York. On July 1, 1901, the Minneapolis “Star Tribune” reported that the company traveled with “three carloads of scenery, specially designed and gotten up for the plays to be presented during the summer season in Minneapolis and St. Paul.”
At the time, the company’s scenic artist was Jim Slipper. Slipper was interviewed on July 14, 1901 by the Minneapolis “Star Tribune” (page 4). In his interview Slipper explained the importance of painted scenery. He stated, “People are just commencing to realize that good plays are frequently as dependent upon good scenery as good actors, and it is certainly true that a play without the advantage of scenery would be a burlesque upon the modern methods of management. We are told that Shakespeare’s plays were first produced without scenery, but we are not informed they were great success except as lectures or monologues of rare literary merit. The success of the drama depends upon the illusion it creates; acting is an illusion – that, is, it excites the auditor to tears over a situation which does not exist, or moves to mirth with an incident that is purely imaginary. So, too, is scenery an illusion. We show you a landscape in a production at the Metropolitan which seems to the spectator in front to stretch away for miles, whereas it is but a few rods distance from the eye, and, perhaps, no more than three feet away from the house, or the shrubbery, or the forest which seems so near you. Thus, if the actor deceives your ear with a cry which seems to have it in tones all the attributes of heart-felt sorrow and tragedy, the artist deceives the eye by producing an impression simply by a few touches of the brush and the proper combination of colors something akin to that produced by the omnipotent hand of nature herself as revealed in the far stretching landscape, or as is shown in the more artificial work of the man as applied to the architecture and the furnishing of apartments.” It is no surprise that he would be drawn to the motion picture industry a decade later.
In 1901, Nellie Slipper was also mentioned in the Minneapolis news. The “Star Tribune” reported, “Mrs. James Slipper, who has been visiting her sister, Mrs. O. C. Wood, left for Chicago yesterday en route to Detroit, where she will join her husband, who is with the Pike Theatre company there” (31 August 1901, page 4). The Slipper’s remained in Detroit until at least 1908, with Slipper continuing to work as a scenic artist. The 1908 Detroit Directory listed Slipper as a Detroit artist living at 168 Columbia East.
Sometime between 1909 and 1910, the Slippers moved to California. In 1910, Slipper was the owner and manager of San Bernardino’s Temple Theatre, located at 618-620 3rd Ave. The 1910 US Federal Census also listed Slipper as a Theatre owner, living with his wife and a young boarder, a 30-yrs. old theatre musician named Frank Durlise. All three were living at 619 Rex Alley. The Slipper’s marriage lasted only three years after that. Keep in mind that there was a twelve-year age difference between Jim and Nellie. There was only a three-year age difference between Nellie and their musical boarder. I have to wonder if the young musician had anything to do with the Slipper’s divorce. Although I have yet to locate any other information about Nellie after 1913. In 1913, the “San Bernardino News” reported on divorce proceedings between James and Nellie (20 Oct. 1913, page 6).
Regardless, the period between 1910 to 1913 was tumultuous for the couple as Slipper rapidly changed professions. By 1913, his younger brother Guy was also living in San Bernardino, working as a motion picture operator.
Jim Slipper was mentioned in the “San Bernardino News” in 1914:“James A. Slipper to Aid Class Play of School. Through the kindness of James Slipper, formerly manager of the Temple Theatre, the high school will have a specially painted set of scenery donated by Mr. Slipper for the class play which will be given next week. Mr. Slipper will paint the scenery to be used in the play and will donate it to the school. For years Mr. Slipper was one of the lading scenic painters of the country and has painted special scenery for all of Chicago’s big theaters. The high school students are delighted at the generosity of Mr. Slipper and also to have scenery in keeping with the play” (30 April 1914, page 5). That year Slipper was also on the committee for the 5th annual orange show in San Bernardino (San Bernardino, 16 July 1914, page 10).
Between 1914 and 1916, Slipper entered the motion picture industry. In 1916, the “San Bernardino News” reported, “James Slipper former owner of the Temple Theatre, was in the city yesterday and today visiting the orange show, Slipper is now secretary and treasurer of an establishment in Los Angeles which deals in picture machines and films” (23 Feb 1916, page 2). He soon established J. Slipper & Co, the Slipper Moving Picture Supply House.
In 1917, “The Moving Picture World,” reported, “James C. Slipper, the head of J. Slipper & Company, motion picture supplies, reports business booming all along the line. Mr. Slipper has recently sold Douglas Jarmuth, manager of the Colonial Theater, 54th and Vermont, two Simplex machines, one G. E. generator, and a Minusa screen; also a Baird machine to J. O. Grant, manager and owner of the Beaumont theater, California. The local Orpheum theater has enrolled itself as a customer of Mr. Slipper with the purchase of a new Powers machine” (The Moving Picture World, Feb. 10, 1917, page 856).
In 1918, the “San Bernardino Country Sun” reported “James Slipper of Los Angeles, formerly manager of the Temple theater and hail-fellow-well-met along the amusement rialto, was in town yesterday. He is now dealing in accessories for moving picture theaters and looks prosperous as always” (28 July 1918, page 2). Slipper spent Thanksgiving that year at the Jewish Orphan Home. “The Los Angeles Times” reported, “James Slipper of the Slipper Moving Picture Supply House, showed in the dining room the fascinating film picture for children, ‘Aladdin and His Wonderful Lamp’” (30 Nov. 1918, page 18).
By 1919 J. Slipper & Co. was listed as a Simplex Distributor in “Motion Picture News,” with selling agents in Southern California and Arizona (Motion Picture News, 1919, page 3646). Over the next few years, the location of his studio shifted from 728 S. Olive St. to 838 S. Olive St. and finally 922 S. Olive St. In 1921, Slipper was listed as a “jobber” in an advertisement for Lang-made Rewinders and Reels alongside New York’s United Projector and Film Co. (“Transactions of the Society of Motion Picture Engineers,” 1921).
Slipper was listed in very few US Federal Census reports, and the last census report that provided any information was in 1920. The census that year listed James Slipper as a 56-yers.-old merchant in the Theatre Equipment industry. At the time, he was one of many lodgers living at 655 South Flower Street in Los Angeles. By the time Moses worked for Slipper in 1922, Slipper was residing at 5333 Santa Monica Blvd.From 1924-1928, J. Slipper & Co. continued to operate at S. Olive St., with the address shifting from 838 to 922. I am unsure whether this signified an expansion of operations or not. By 1930, the name changed to J & Co. Slipper Motion Picture Studio and Theatre Supplies. Although still listed at 922 S. Olive, the firm was now managed by Guy Slipper.
I have yet to locate any information about Slipper after the 1920s, so his story ends here.
You have to give Slipper credit with his insight and timing, shifting from a scenic artist to theatre owner and then motion picture supplier. There are those that eagerly embrace new technology and trends, ever adapting their skills to current trends. Then there are others who stubbornly cling to the familiar, wherever they have invested the majority of their energy. 1914 to 1924 was a turning point for many scenic artists. It must have been very difficult at this time for anyone to contemplate a side-step in the entertainment industry, especially for those who had already spent decades perfecting their skills in one particular trade. Slipper, unlike Moses, jumped into the growing film industry, and seemed to never looked back. At this same time, Moses was hoping for a revival of painted illusion; a return of the scenic art that he worked so hard to perfect his entire life. In the twilight of his years, he should have been sitting at the top of the scenic art industry. However, he was still trudging along in the Midwest; his heart was firmly situated in the past. Although Sosman & Landis was still landing contracts in 1922, the majority of the business was theatrical draperies; a topic that I will address tomorrow.
To be continued…
