J. C. Becker & Bro. scenic studio became a major competitor to Sosman & Landis in the twentieth century. John Carl Becker was born on April 4, 1881, Boonville, Indiana. He and his younger brother Raymond were two of seven children born to German immigrants August Becker (1850-1931) and Louisa Elizabeth Holtworth (also Holewarth). The couple was married on March 17, 1875, in Warrick, Indiana and celebrated the birth of their seven children from 1876 to 1891: Amelia (b. 1876), Gussie (b. 1877), August Jr. (b. 1878), Otto L. (b. 1879), John C. (1881), Frieda E. (b. 1885), William S. (b. 1887) and Raymond H. (b. 1891).
August Becker Sr. was born in Idar-Oberstein and moved to the United states in 1857 at the age of seven. The 1880 census lists August as a Marble dealer, but over the years, he held many positions, including a driver and common laborer. His wife, Louisa Hawtin, was also of Germany descent. Her parents Alma and Mary Hawtin were from the area of Baden Germany.
After the marriage of August and Louisa Becker in 1875, all of the Becker children were born in Indiana. The family later moved to St. Louis, Missouri, were many of the siblings grew to adulthood, some discovering careers in the field of popular entertainment. It was in St. Louis that both John and Raymond first became scenic artists. On April 4, 1902, “The Times” noted that John C. Becker was working as an assistant to scenic artist Mr. Charles E. Boss for Mr. R. L. Griffith’s stock company in Richmond, Virginia (page 2). He was twenty-one years old at the time.
John soon established his scenic art firm. In later years, company letterheads would credit J. C. Becker and R. H. Becker as the two founders in 1903, but Raymond was only 11 yrs. old at the time. The highest level of education completed by John was 7th grade; he stopped school at the age of thirteen in 1894. Raymond remained in school until 8th grade, lasting a year longer than his older brother.
As adults, both of the Becker brothers were similarly described in their WWI draft cards – tall, with medium build, blue eyes and brown hair. Each was listed as a scenic artist, but held different roles in the running of the company. In later years, John was in the studio and Ray was on the road, leading the installation teams.
By 1907, John was becoming well-known as a Chicago scenic artist. There was no mention of J. C. Becker & Bro. yet. “The Joliet News” noted that Becker was providing the scenery for the Grand Vaudeville Theatre in Joliet, Illinois” (Joliet, Illinois, 10 Aug. 1907, page 9). Manager Goldberg was having the entire scenery of the theatre repainted by “outside talent.” The article reported, “John C. Becker, a professional scene painter of Chicago, is doing the work. When it is completed it is safe to say that there will be no flies on the flies at the Grand, nor the drops…Mr. Becker is a scenic artist of ability and is in much demand. He has done work for all the big theaters in Chicago. This is the artist who painted all the scenery for the Umpire, at the La Salle, and for ‘The Time, the Place and the Girl”; for “The Prince of India,” “The District Leader,” and large numbers of others.”
It appears that marriage and children drew Becker briefly back to St. Louis by 1910 and this is likely when J. C. Becker & Bro. first began as his younger brother was now 19 yrs. old. John, his wife Maud (nee Hawtin, b. 1881), and their two small children were living at his in-laws. Other residents at Granville Place, included Maud’s sister and brother-in-law, Isabella and Alfred Reeves. Raymond Becker was still living at home with his parents.
By 1912, John and Maud had three small children, Ormonde (age 7), Ellsworth (age 3) and Ardith M. (newborn). Interestingly, when John and Maud moved to Illinois by, the grandchildren stayed with their grandparents in St. Louis. At the time, the children were 15, 11, and 8 yrs. old. The 1920 Census lists the couple as living alone at 819 Eighth Ave in Proviso, Illinois, near Chicago. Ten years later, two of their three adult children were once again living at home. By this time, Ellsworth was 20 yrs. old and Ardeth M. was 18 yrs. old. The occupation for each child in the 1930 census was listed as “student;” they continued their secondary education in Illinois.
The 1920s were a busy time for the Becker brothers as they secured numerous painting contracts, competing with at least eleven other scenic studios in Chicago by 1927. Some of their Chicago competitors at the time included Acme Scenic Studios (2919 W. Van Buren St.), Eugene Cox Studio (1734 Ogden Ave), Robt. P. Carsen Studios (1507 N. Clark Street), Charles L. Hoyland Co. (2919 W. Van Buren Street), King Studio (2215 W. Van Buren St.), Sosman & Landis (416 Kedzie Ave.), McVicker Curtain Co. (2436 Sheffield Ave.), Emil Neiglick Studio (4557 Woodlawn Ave), Chicago Civic Opera (2559 S. Dearborn St.) Pausback Studio (3727 Cottage Grove. Ave). and William Lemle, Inc. (417 S. Clinton).
During the 1920s and 1930s, John’s focus remained on design and painting, while Raymond’s focus was painting and installation. One partner in the shop and one partner on the road was a magical combination, spelling success to many firms including Sosma & Landis in the beginning. It often took two people to successfully run a business, juggling all of the balls. In 1929 their business letterhead advertised “John C. Becker & Bro. Artists. Scenery for the Stage.” During this time, John was living in Proviso, Illinois, where he will remain for the next twenty-six years (819 S. Eighth St.). Raymond was living at 815 19th Avenue in Maywood, Illinois with his wife Ruth 9 (nee Magenheimer) and their three sons, Burton (age 17), Russell (age 11) and F. Raymond, (age 6). Raymond’s family later moved to 7237 Jackson Boulevard in Forest Park, Illinois, Interestingly, it was only Raymond’s children who entered the family business; Burton, Russell and Ray Jr.; they were all listed on company payrolls between 1932-1934. It must have been a great help during the Great Depression.
In 1934, John had achieved Masonic fame and was advertised as a “Scottish Rite scenic artist” (The Pantagraph, 10 April, 1934, page 5). He not only belonged to the Scottish Rite in Chicago, but also in Valley in Bloomington, Illinois. Other fraternities included the Ancient Accepted Order of the Nobles of the Mystic Shrine and the White Shrine of Jerusalem. By 1940, John Becker changed the title of his occupation to that of “scenographic engineer, “ with Raymond remaining a scenic artist for the remainder of his days.
John C. Becker started living in Sarasota, Florida, by 1956, passing away at the Sarasota Memorial Hospital on May 3, 1963. He was 81 years old with his last residence was 2539 Trinidad St. Brother Raymond passed away in 1976 at the age of 85 yrs. old.
Although much more could be written about both of the Becker brothers and their company, I am going to pause here. This was only intended as a brief introduction to Becker Bros. as their firm enters the life and times of Thomas G. Moses in 1912.
To be continued…
Love it
Moved to the Taylor street Address in 1928
Brian Becker ran the company until I purchased it in 1994
The Chicago Auto show models and art work and business ledgers are at the Chicago historical society
Brian Becker has the original design Art work for the masonic drops. JC designed the Passion Play for Bloomington Scotish rite in the 1930s
Thank you for commenting, Mike!
I just read a bit about Becker Brothers studio and I have a piece of artwork on my wall that has written in the corner Becker Brothers Studios. Wondering if I could find out more information on the piece and if there would be in interest if I were to sell it.
Lisa Flanagan
Yes, Lisa. I just emailed you.
Really appreciate seeing your work on the history of scenic arts. I’m a great grandson of John C. Becker. Currently working on a history of Becker Studios (among other projects). I do have his notes on scenic artists he worked with and for in the early years if that is something you would be interested in.
It might interest you to know that John C got his start with Charles Boss from New York City who had been hired by the Imperial Theatre in St Louis to paint their scenery. John walked into the job site looking for work. Boss took a chance on him since he was willing to work for $4 a week where the other two young men Boss had hired were getting paid $12. Started as a paintboy mixing primer and soon applying the primer to canvass. He advanced rapidly. The reason that John went to Washington, DC and Richmond, VA in the 1901/1902 timeframe was because Boss invited John to join him there as Boss was painting scenery for a new stock company. John dabbled in acting to get some additional income which his future wife Maud was not happy with.
In 1903 and 1904 John secured contracts to build all the floats for the Veiled Prophet parade in St Louis and also “The Hereafter” exhibit at the St. Louis World’s fair. Suspect that Raymond worked as a paintboy for him at that time, even though he was in his early teens, which is why they both chart their history back to the company’s founding in 1903.
Points of clarification from this article:
John C. Becker’s sons Ormonde and Ellsworth both worked for the company for a number of years. In fact Ormonde was a joint owner of Becker Bros & Sons (with John C and Raymond). Ormonde described himself as a scenographic engineer as well. Suspect this reflects the company’s further expansion into trade shows with less focus on theatrical scenery and more on large scale props, exhibits and effects.
Raymond’s son Ray was a carpenter with the company from 1946 to 1960. His other two sons pursued different occupations. For the time period 1932 – 1934, Raymond’s sons would have been in their early to late teens. So helping out at the shop, not full-time employees.
It definitely was a family effort (although certainly not solely a family effort). John’s wife Maud was a seamstress and handled the industrial size sewing machines used for splicing canvas and scrim together. When you have described looking at how the scenery was put together I could picture my great-grandmother sewing away to make it happen.
Note that John and Raymond’s mother was Louise Elizabeth “Liza” Holzworth. Her parents were Charles John Holzworth from Karlsruh, Germany and Elisabetha Hochholter from Eppingen, Heidelberg, Baden, Germany. Charles was a barber in Newburgh, Indiana which is a short distance from Boonville where August lived.
John’s wife Maud’s parents were Alma Hawtin from Coventry, England and Mary Wilson from Manchester, England.
John and Maud returned to St Louis to live with her parents after the birth of Ormonde as there had been issues with the childbirth and her parents had the means to provide medical and family support. John continued to travel across the country to where the scenic art work was, sometimes with Maud and Ormonde as well.
The 1920 census does not show the three children with them at their home in Maywood but I suspect that they were visiting relatives at the time of the census. Family history says that John C. was on the school board at that time (haven’t been able to confirm this yet). I see records of all three children attending school in Maywood throughout the 1920’s.
This is so wonderful and makes everything worthwhile. Thank you so much for the comments. I will be in touch via. email.