Gustave Besson, his Factories and Family

The purpose of this article is to give a brief history of Gustave Besson’s life and brass instrument making as accurately as possible and making clear when sources of information are primary, secondary etc.  Corrections and comments are encouraged. Great help was happily given towards this effort by Niles Eldredge, Bruno Kampmann, Josh Landress, Sabine Klaus, Pascal Durieux, Tom Meacham and others.

Some of the challenges in constructing this story is that the Paris civic records from before 1860 were destroyed when the Hôtel de Ville de Paris (city hall) was burned in 1871.  However, many birth, marriage and death dates were thereafter gotten from church records, and many can be found in later documents.  In addition, the census records for Paris from 1872 are not available for unknown reasons. Other French records may exist, but are difficult to access and may add to this later.

Gustave Auguste Besson was born in Paris on January 20th, 1820, to Jean Auguste and Cecile Josephine Marcelin Besson. Algernon S. Rose, in his Talks with Bandsmen, reported being told in 1893 by Mr. H. Grice, the manager of the English factory that his father was a distinguished army colonel and several newspaper accounts in the 1890s state that he served with Napoleon I at Waterloo.

Details of his early work history traditionally have relied heavily on information from Besson, including that published by musicologist Constant Pierre in his 1893 Les Facteurs d’Instruments de Music les Luthiers et la Facteur Instrumentale Precis Historique: “From the age of 10, he entered an apprenticeship with (Emmanuel Jean Marie) Dujarier, then he worked in several houses, and, at 18, tormented by the desire to carry out various projects, he established himself with limited resources, which obliged him first of all to undertake only works in a manner.” The earliest source for this story found by the author was Quinze visites musicales à l'Exposition universelle de 1855 by the composer Adrien de la Fage in 1856.  On his thirteenth visit, de la Fage encountered the area of the exposition that included makers of military musical instruments.  The story must have been told directly by Gustave Besson and his contemporaries were available to dispute the facts.

Even if the early age of his accomplishments is exaggerated, there is likely some truth in it.  Starting around 1895, company literature stated that the house of Besson was founded in 1834.  Assuming that there was some reason for this claim, perhaps that is the year that Gustave Besson started his apprenticeship, at the age of 14, or after 4 years as apprentice, gained more responsibility as a maker. 

An excellent list of sources is contained on the website “Luthier Vents” (Wind Instrument Makers) in French, and computer translations are more than adequate to comprehend in English.  The date of the earliest address for Gustave Besson listed there and in The New Langwill Index is 1842.  The Almanach-Bottin du Commerce de Paris, published in January of that year lists: “Besson, fab. Inst. de musique en cuivre, Tiquetonne 14.”  The same almanac is not available for the previous year, but a similar publication, Annuaire General du Commerce does not have a listing for Besson in 1841 or earlier years.  Also, the brass musical instrument makers exhibiting in the Paris Exposition National de l’Industrie de 1839 included Labbaye, Raoux, Jahn and Guichard, but not Besson. 

In his Histoire Illustrée de l’Exposition Universelle published in 1855, Charles Robin states that “M. Besson was barely twenty-two years old when he was introduced to clever research and curious discoveries that earned him great consideration among his colleagues.”  This also would have been 1842.

It would seem likely that he established this shop in late 1841, when he was 21 years old, in time for the listing in the Almanach.  However, as indicated by Pierre above, he may have been conducting independent business from his parents’ residence or other location while still employed by Dujariez or another maker.  We can assume that whatever his situation, he was gaining experience in the business.

The earliest record of Gustave Besson entering instruments into an exhibition was the “Exposition Produits de l’Industrie Française” in 1844.  The report of the jury stated that he entered “un cor à pistons et un bugle…, un cor ordinaire” (a horn with valves and a bugle, a natural horn) but that they were not fully completed.  The jury awarded them an honorable mention.  While it might not seem wise to enter unfinished instruments, it seems to have gone well for him for a first time out. 

Only four instruments are known that were made in the three years that Besson’s shop was on rue Tiquetonne: one cornet with Stölzel valves and three ophicleides.  Previously unknown, Bruno Kampmann of Paris has found in Bottin’s 1845 Paris directory, a listing for Besson at 13 rue de la Bibliothèque. Bruno is working on an article to publish in the French language Larigot, the publication of l’Association des Collecctionneurs d’Instruments à Vent, where he will reveal more new discoveries. In 1846, Besson moved to rue des Trois Couronnes 7, where he must have had more space to expand the business.  In his 1858 Dictionaire Universal des Contemporains (similar to “Who’s Who” in the 20th century), Louis Gustave Vapeureaux wrote that Gustave Besson recovered from bankruptcy some time between 1844 and 1851.

On October 16, 1847, Besson married 18 year old Florentine Mélanie Ridoux, 9 years his junior.  They lived at the same address as the workshop, which was the most common practice for small businesses at the time.  The same five story building on rue des Trois Couronnes, built in 1800, still exists today as 19 condominium apartments.  The center of Paris was increasingly industrialized, but this building would not have had steam power in the 1840s. While a treadle lathe, powered by the operator, would have been used for light turning processes, larger lathes would have been necessary for heavier work including spinning bell flares. Without water or steam power, an additional worker would have to be employed to turn the lathe. The benefits of steam power may been a primary motivation for the move, in 1869, to 92 rue d’Angoulême. 

Besson’s advertising in the 1850s included a list of honors including Médaille d’Argent, Paris 1849, presumably awarded at the Exposition Nationale des Produits de l’Industrie Agricole et Manufacturière.  In the second volume of the report of the jury, published in 1850, 12 makers of brass instruments are listed with descriptions of the instruments exhibited and awards granted, but Besson is not among them.  Perhaps there was another event in Paris that year in which medals were awarded that has eluded the author. He stopped making this claim in about 1860.

The sample size of existing instruments made by Besson in the years 1846 until about 1854 is too small to make many conclusions, so much of this information will be corrected in the future.  This is despite the efforts of Niles Eldredge, compiling a list of all known examples.  Besson seems to have started using the “GB” monogram very early, perhaps within a year at this address.  Only two instruments from this address marked “Besson” don’t have it, both with rotary valves. One of those does not appear to have been made by Besson, the wording is engraved to appear to be Besson’s stamps.  In addition, two cornets made by Besson in this period, but stamped “Pask & Koenig” and with Pask’s London address lack the monogram. 

The earliest of the rotary valve cornets may be the earliest example of an instrument from Rue de Trois Couronnes shop not only based on the lack of monogram, but relatively crude workmanship.  It seems very likely that it pre-dates the cornets with numbers stamped on the mouthpipe parts. It has a deluxe silver-plated finish and decorative engraving and leather covered case, begging speculation that it was a show piece, perhaps intended for the 1849 Paris Exposition or among the instruments shown in 1851.

Like most makers, Besson did not make valves for his early production and before 1852 he used Stöltzel (cornopean) and Périnet valves that were available in Paris.  The valves may have been made by François Sasaigne, who had been making Périnet valve assemblies under license until the patent expired in 1843. In 1852, valve maker Charles Edme Rödel patented an improved version of Périnet valves in which he claimed to improve the circulation of air and thus the tone of the instrument.  In an addition to the patent, he states “it offers that of almost completely removing the bumps and elbows that narrowed the air column inside the instrument.”  This is the same goal that other makers, including Besson seemed obsessed with. There are at least three known cornets made by Besson with Rödel’s valve design which do exhibit the very small bumps in the ports as described, although it is very difficult to determine superiority. Comparing #3, made about 1849, with “Modéle Halary” Périnet valves (see below) to #19 with Rödel’s patented valves, they are made using standard practices of the time and very similar restrictions to the bore can be seen within the piston ports. Although none of these pistons appear to have ever been damaged, this is observation of pistons with over 170 years of deterioration and not careful measurements of newly made parts.

“Modéle Halary” is the name given to the earliest known cornets with Périnet valves and those made later that follow the same basic design by Maxime and Christian Chagot in their very detailed article, “Cornets Modéle Halary et Premiers Pistons Périnet”, published in Larigot. All of the earliest examples, made during the duration of the patent that are known, were made by Halary, and the design was used by most other French makers through the 1850s.

In his own patent, granted in 1854, Besson claimed “piston of ordinary diameter two holes exactly straight…but always see the full daylight through.  The third hole is curved but always full at the point that a ball of the size of the bore, passes through.”  Niles Eldredge has confirmed that in Besson cornet number 4193 with the valves made according to this patent do not have the usual bumps within the bore that we see in almost all other Périnet variants.  While the Rödel valves, mentioned above and later valve designs from Besson, minimized the reduction in bore within the pistons, they did not remove it completely. Indeed, 170 years of makers claiming to remove these restrictions has still not resulted in actual proof of acoustic superiority.

The Bessons would have observed a growing market in England for brass instruments and according to The New Langwill Index, had established an outlet in London before 1850, at the address of John Pask, an instrument dealer and possible woodwind instrument maker.  Langwill also states that in about 1849, Pask was in partnership with the famous cornet soloist Hermann Koenig selling “Pask & Koenig” instruments.  Josh Landress has shown that some of these were made in Paris by Besson.  Others were made by another maker, likely Gautrot aîné, who was already well known as the largest supplier to retailers such as Pask.  The London Gazette reported in 1851 that Pask’s partnership with Koenig was dissolved by mutual consent on April 10th that year.  This was less than a month before the opening of the London Exhibition, where more than a dozen brass and woodwind instruments were entered into the exhibition under the name “Koenig & Pask.” Also in April, Philip J. Smith placed advertising in The Bristol Mercury and Daily Post, claiming to be the sole agent for Besson cornets.

 One of the earliest cornets made by Besson is engraved “Proved by Her Koenig” and stamped with monogram “GB” and “Pask & Besson,” Pask’s address etc. Also, a serial number “2” is stamped on the mouthpipe shank receiver in the manner of others of the earliest cornets made by Gustave Besson made in his shop on rue de Trois Couronnes.  Niles Eldredge was able to determine that this was made no later than 1849, indicating that Pask’s partnership with Besson may predate that with Koenig and certainly overlaps.

 Opening on May 1, 1851, the exhibition was a very grand affair with the goal of eclipsing the previous expositions in Paris and establishing Britain as a world industrial leader.  It was promoted by Prince Albert and several other influential champions of industry, and a huge greenhouse-like structure was built of cast iron and glass with three floors of exhibit space and a central atrium towering above.  It was called the “Great Exhibition of the Works of Industry of All Nations,” mostly known as the “Crystal Palace Exhibition.” 

The jurors’ report included many lines praising Adolphe Sax and his instruments but only listed other French makers including Besson.  Rather than gold, silver and bronze medals, the awards were divided into “Council Medal,” “Prize Medal” and “Honorable Mention.”  Besson was awarded Prize Medal for “Various metal musical instruments.”  In the official catalog, published at the start of the exhibition, G.A. Besson was listed entering “Cornet-à-pistons, in brass and silver, ophicleide &c.”

After the close of the London Exhibition, the famous orchestra promoter and conductor, Louis Jullien purchased some of the instruments that had been entered by both Besson and Courtois and became the London outlet for both makers. By November, he secured the endorsement of Koenig for cornets of both and advertised widely in newspapers and other publications. While Courtois continued this relationship through 1859, by early 1855, Besson had left this arrangement. Jullien’s finances were unstable and Besson likely knew that it was temporary while he worked to establish a factory in London.  No Besson instrument is known with Jullien’s name on it. In his 1893 My Musical Life and Recollections, Jules Rivière states that he provided lodging for Besson in Green Street and then located for him the property on Euston Road.  This is where Besson instruments were made until 1933.

In Quinze visites musicales à l'Exposition universelle de 1855, mentioned above, de la Fage describes how Besson made tapered tubes on “mandrins prototype” (prototype mandrels made of steel) and then bent them around forms. He included such detail that we must assume that the actual tooling or excellent visual references were on display.  This method is what Besson later named “Systéme Prototype” and continued to use as part of its branding long after almost all other makers were using the same methods.

De la Fage also mentioned Besson’s invention called “trombatonar,” a contrabass instrument that he said was displayed at the 1849 Paris exhibition, describing its range extending a sixth below the string contrabass.  This would indicate that it had the tube length of a modern tuba in CC and likely with four valves.  Adolphe Sax had already made similar contrabass instruments in BBb. Perhaps the innovation was the additional range using the forth valve. He went on to describe a series of experiments by Besson, using various materials to make bugles and other instruments, of cardboard, pottery, lead and canvas, determining that a heavy layer of papier mâché or gutta-percha formed around the mandrels were acceptable substitutes for brass. A few years later, Besson also experimented using aluminum for both the tubing and and valve parts that were intended to lighten the action. The latter was included in his 1855 patent.

Charles Robin published additional statements from Besson in 1855 in Histoire Illustrée de l’Exposition Universelle. One was that, at the 1851 exhibition, he introduced instruments that he called “système Besson” that seems to be the same design that, in her 1874 patent, Florentine Besson called “perce droite dit modèle Besson” (straight bore called Besson model) and the design seen in a few cornets made in these years. In this design, the entry to the third valve and exit from the first valve are aligned with the tubes between the valves, but are otherwise the same as previous Périnet valves. Niles Eldredge studies this patent in “Mme. F. Besson and the Early History of the Périnet Valve,” published in 2003 in The Galpin Society Journal. This article clearly shows the evolution of the “Périnet” valve design, leading to what we recognize on almost all modern piston valve cornets and trumpets.

Also stated is that another of his inventions was the “ophicléide Boëhm.” We can’t be sure what this is, but seems to be associating his design with the successful flute key system designed by Theobald Boehm. This might refer to larger holes and the three lowest keys seen in the photo below that are mounted on a longitudinal rod like most of the keys on Boehm flutes. Another unique design is the E key (thumb of right hand) on the opposite side, mounted the same way and has two tone holes covered by two pads. The larger holes were to minimize the difference in sound from those closest to the bell to those furthest and many other makers adopted these ideas in later ophicleides. This design was not patented and it is not known if Besson was leading or following other makers.

 During these years, Besson and other makers were involved with legal disputes with Adolphe Sax regarding Sax’s patents for brass instruments, complicated by additions to same.  The story is most often simplified by indicating that Sax invented the saxhorn family in 1843 (although the name was adopted later) and expanded the concept to saxo-trombas in 1845 and other makers infringed on these patents. The story is far more complicated and beyond the scope of this article. It has been covered well elsewhere, including “Adolphe Sax: Visionary or Plagerist?” in the Historical Brass Society Journal Volume 20 - 2008 by Euginia Mitroulia and Arnold Myers, and also “Adolphe Sax’s Brasswind Production with a Focus on Saxhorns and Related Instruments” doctoral dissertation by Eugenia Mitroulia.

In his 1861 Essai sur la Factuer Instrumental, le Comte Adolphe de Pontécoulant reported that, before the proceedings had resulted in a large fine against him, Gustave applied for and was granted a legal separation from Florentine with all their property in her name (Mme G.A. Besson).  He imagined him thinking: “My wife settling in the same local, and under the same name, by making it precede only the letter F will keep at home its old traffic; I will remain at the head of the manufacture as the foreman, I will finally be de facto and de jure the Queen's Husband. – And then the patents of Sax expiring, we will exploit them on the spot.” The name of the company was changed from “Besson” to “F Besson.”

The official court record, Annales de la Propriété Industrielle Aristique et Litteraire Journal de Législation, Doctrine et Jurisprudence Françaises et Etrangères en Matiere de Brevets d’Invention, Littérature, Théàtre, Musique, Beaux-Arts, Dessins, Modèles, Noms et Marques de Fabrique, published in 1860, stated that claims were filed against Besson and other makers for infringement of Sax’s patents of 1843 and 1845 starting in 1854. Due to the complicated nature of instruments on both sides and ill-defined designs, it continued for years and a portion of the 1843 patent was nullified. Instruments and mandrels used in manufacture were confiscated from Besson and he filed suit against Sax. This was dismissed by a judge.

The 1843 patent expired in 1858 and the strongest point of Sax’s case was that his saxo-tromba patent was first to show instruments with the bell, valves and slide tubes all parallel. Less strong, but successful was his stated dimensions of the instruments in that patent. In 1858, Sax made renewed efforts in prosecution and in April, Besson was fined 2114 francs and, based on a French patent law instituted in July, 1844, an additional 2000 francs. In 1859, Gautrot, the largest maker targeted by the suits, paid 500,000 francs to settle with Sax, which was equivalent to about $250,000 then and over $8 million today.  Besson took up residence at 198 Euston Road in London by 1858, where a shop building was built at the rear on an access road.

Despite separation and careers in two countries, Gustave and Florentine continued to live as a family and all four of their children were born in Paris:  Cecile Henriette (1849), Marthe Josephine (1853), Georges Clement Hyacinthe (1859) and Gabrielle Augustine (1860).  Oddly, the 1861 census listed only 12-year-old Cecile living with the couple in London.  Gabrielle would have been under two years old.  Also listed as residents in the Besson household were two employees of the firm that were from France and the census also indicated that the company employed “10 men and 1 boy.”

The 1871 London census lists the family, except Gabrielle, who would have been about 11 at the time.  Cecile, 22, and Marthe, 18, were both listed as “Assistant to Musical Inst. Maker.”  We know that the Besson family was also living at 96 rue d’Angouleme based on birth, marriage and death records.  Travelling from one home to the other would have been an all-day ordeal.

Gustave Besson’s death date has been stated as 1873 or 1874 in almost all previous sources, but his death was recorded on August 10th, 1875, in Ghent, East Flanders (Belgium).  This document states that he died there the day before (August 9th, 1875).  It is not known if he was there on business or some other reason.  He was 55 years old. 

Florentine and her daughters headed the two factories for another two years until her death in 1877, at 48 years old.  Her death is even more mysterious.  The declaration was made on November 5th of that year, but the record states that she was “deceased at a date that the witnesses could not make us know, but that seems to go back to last October 22nd, in the boundaries of St Denis (seine); there, she was brought to the Morgue #2; domiciled rue d’Angouleme no. 92.”  Sainte-Denis is about five miles from her Paris home and factory.  The London Principal Probate Registry of 1877 granted Florentine’s effects “Under £4,000” to Marthe “Daughter and one of the Next of Kin,” indicating that she was the more capable or trusted of the four children.  A later handwritten note states “Resworn June 1881 under £8,000”.  She had no will and the second entry seems to indicate that there was complication in settling the estate.  Additional probate records have not been found. The amounts stated were limits that determined tax rates, so the final value of the estate was between £4,000 and £8,000.

Thereafter, the Paris and London factories were managed by Marthe and Cecile.  The 1881 census in England lists the residents of 198 Euston Road as Adolphe Fontaine, Attaché to the French Consulate, Marthe, their one-year-old daughter Gabrielle, Marthe’s sister Gabrielle, her mother-in-law Marie Fontaine, two servants and an artist painter.  Later evidence indicates that Adolphe did not have diplomatic duties, called by some, a clerk at the consulate. Of great interest, the census also states that the factory employed 20 men. The elder Gabrielle died in 1886, less than three years after getting married. Her involvement in the business is unknown.

There’s no evidence that Georges was ever involved in musical instrument making either. The 1881 census shows him living as a country gentleman in Hampshire (“Freehold houses and Land Owner, employing six men” as well as four servants and horses).  The record of the baptism of his daughter Ruth on January 7th, 1894 and London postal directory, 1895, indicate that he was living in St. John’s Wood, London working as a “Traveller” (travelling salesman?) just two miles from the Besson factory.  Notes From the High Court of Justice in 1894 indicate G. Besson and Co., boot polish manufacturer at Georges’ address, filed for bankruptcy.  Paris civil records state that he died in Paris in 1905.

A little more has been found regarding oldest sister Cécile’s activities.  There are no records indicating that she ever got married and three sources indicate that she headed the Paris factory in the 1880s.  Evidence submitted (December 5, 1895) in the court case “Fontaine Besson vs Fontaine Besson,” states that since Cécile was entitled to a share in the business and that she would manage the Paris factory. This seems to have started shortly after Marthe’s marriage in 1879 or possibly 1881, when the estate was settled. At that time they fired managers that had been overseeing both factories. Georges and Gabrielle were bought out in 1882, leaving Cécile and Marthe as equal partners. Proceedings were initiated in 1887, presumably by Marthe, to dissolve that partnership and the next year, the court ordered that the business be sold with half the proceeds going to each sister. Marthe bought the entire business for £23,719, including a cheque from Adolphe in the amount of £7500, presumably from investments made after marriage.

In an article published in the December 1910 issue of Musica, a Paris music magazine, titled “Le Cult d’une Grande et Belle Famille de Musiciens,” Victor Lefévre, wrote: “And in 1885 Miss Cecile Besson was appointed member of the jury at the Universal Exhibition in Antwerp.  This was the first time that such an honor went to a woman in an industrial and artistic part like the one we are interested in.”.  Also, Belgian trademark number 2576, for the familiar bell stamp for F Besson including the “FR” (Florentine Ridoux) monogram that was granted to Cécile in 1887.

Cécile lived just over a mile from the factory in Paris at the time of her death, at forty years old, in 1889.  The record of her death describes her as “rentiére,” a person of independent means living on funds from investments or trust, and as we know, she had been bought out of the business the previous year.  Cécile’s estate was valued in the London Probate Registry at £17,400, the equivalent of over £2,000,000 today. 

Cécile’s will made in 1887 gave 28,500 francs to various people, including 1500 francs for an annuity for the benefit of Georges children and 10,000 francs for the benefit of the workers in the French factory. This was £1127 (Swedish krona basis), only 7% of her estates value. However, her will also specified that both the London and Paris factories be sold to settle the estate. It tells of great difficulties with all three of her siblings, including her view of Marthe’s actions leading to removing her from the business: (Marthe) “odiously frustrated me, in my rights as well for the succession of my parents as for our commercial partnership she gave proof in the proceedings now pending in England.” This was less than two years before Cécile’s death.

Marthe married Adolphe Honoré Gabriel Fontaine, reputed attaché to the French consulate in London, in 1879 and both started using the name “Fontaine-Besson.”  He was 10 years her senior and the marriage was a troubled one based on press accounts.  These can be read on Luthier Vents website and elsewhere on the internet.  Before marriage, Adolphe promised in writing, that he would have nothing to do with running the business, playing the part of “Prince Consort to the Republic” and to help in his capacity at the consulate. In 1882, he was involved in founding the French Chamber of Commerce in London and gained the title of honorary chancellor. He left the employ of the consulate in 1886.

Some time before the Paris Exposition in 1889, Adolphe became more involved in publicizing the business and changed the name of the company in advertising and press release from “F (Florentine) Besson” to “Fontaine-Besson.” He claimed credit for designing newly introduced instruments including the widely publicized Cornophone (Cornon) and Clarinette Pédal.  We can’t know what involvement he might have had, but there is much room for doubt, evidenced in testimony he later gave in court (1895). When asked when he learned the business of making musical instruments, his response was: “It is no matter.  Was it necessary for me to know how to make a musical instrument?  I do not suppose Mr. Colman makes mustard himself.”

Both Marthe and Adolphe travelled to Chicago for the World’s Columbia Exposition which opened in May, 1893. In July, Marthe took an excursion train to La Porte, Texas, where she purchased 22 lots in the new city and an additional 510 acres. At the end of the fair, Adolphe returned to Paris, but Marthe stayed for another month or so. She visited Carl Fischer, Besson’s US distributor in New York and while there, met with a reporter from the Paris newspaper l’Enevement (in English “the Event”). She told him that her plans were to build a city in Texas called “Bessonville” and a factory to supply North, Central and South America with musical instruments. Information published in Jocelyn Howell’s dissertation indicate that these markets were already becoming important to the company.

After her return, Marthe and Adolphe quarreled and in January, 1894, she sued for divorce in Paris, but not before warning her Paris employees that Adolphe was not well. She then returned to London. Paris newspapers, including La Presse, reported that Adolphe had alienated the workers by attempting to manage the factory for the first time starting in January. Previously, he had only been a figurehead, with Marthe and the foremen to oversee the factory operation.

During these months, there were daily struggles with workers and loss of customers. He cut the wages of the Paris workers twice, resulting in a strike in September. When approached by the shop foremen, he refused to meet with them and locked them out. The employees pleaded to Marthe for her return, which she did in October and convinced them to go back to work. Even though reported in at least six Paris newspapers, there was no mention of whether or not the previous wage rates were restored. It is difficult to parse the truth from press reports, the French papers were sympathetic to the workers and Marthe and the English had bold headlines about her scandalous actions. On October 30th, a divorce court judge ruled that she had no standing to remove Adolphe from authority over their community property, and that she was unable to prove negligence, impairment or wickedness, the requirements for that decision.

In early 1895, Marthe found a buyer for the London factory and moved their belongings from the house. When Adolphe learned this in July, he told customers to stop doing business with the London branch and filed civil charges against her in England, including an injunction keeping her from accessing bank accounts.  In August, she fled the country with 15 year old Gabrielle and her lover (reported as an employee, either “traveler” or clerk from Spain) with securities and other property. Several press reports stated that her intention was to live in America. Adolphe then had criminal charges filed and she was arrested in Spain and brought back for trial, arriving in London on November 21st.

Court testimony indicated that before meeting Marthe, Adolphe had no property and was living with and supported by a dress maker in London. He claimed that, since the marriage was in France, the English property was part of the (marriage) community as well. According to French law at that time, all property acquired during the marriage, including by inheritance, became that of the community and the man had sole authority over that community. Because the business was still owned by the estate of her mother, who died two years before the marriage, it became community property when she inherited it in 1881. French law also prevented a woman from doing business without the permission of her husband. When asked in court “Do you claim ownership of the goodwill, name, inventions, and everything?,” his response was: “Yes, that is the French law, and you can’t change it.”

Criminal charges were dismissed in February, 1896. Even after her ownership of the English property was settled in the courts and the sale was finalized, he continued to claim ownership of Besson in France.  In a 1906 advertisement in Directory of Artists and Dramatic and Musical Education, he claimed he “holds many honorary distinctions and after 66 medals and diplomas of honor obtained in international exhibitions, he won the Grand Prix at the following exhibitions in Paris 1900, St -Louis 1904, Liege 1905.” There was no additional press coverage of worker relations at Besson, Paris. We must assume that Marthe and their employees tolerated the situation for the rest of her life so that the business would eventually go to her heirs.

When Marthe died on the 15th of September 1908, she was living near Russell Square in London, less than a mile from her old home and factory. Adolphe died in Paris just a month later.  In her will probated in England in December, Marthe left her estate in three equal parts to her daughters (Marthe) Gabrielle Durand and Méha Fondere and the third part to “Cisco Besson (my son or reputed son).”  Her grave memorial includes an added panel memorializing Frank Besson Flight Lieutenant, Royal Navy. He died while on a reconnaissance flight when his Nieuport 10 biplane went down due to engine failure on December 20th, 1915 off of Gallipoli in the Dardanelle Straight.  He had turned 20 four days before. His London Probate record indicated that his legal name was Francisco Besson.

London’s probate record valued Marthe’s effects at the time of her death over £46,610, well over £5,500,000 today and put it in the control of Albert Durand, a civil judge and public trustee in Reims, France, who was also the husband of her daughter Marthe Gabrielle.  A codicil to her will also specified that £1000 was given to Albert Durand before the rest of the estate was divided. The estate must not have been fully settled for several years, evidenced by a story published in the Houston Post, August 20, 1911, stating that an executor of Marthe Besson’s estate was sent to La Porte, Texas to establish her ownership of real estate there.

Marthe’s death left the charge of the Paris factory in the hands of her younger daughter Méha Pauline Henriette Fondère (born March 29, 1885). She was a widow at the time with a daughter, Lydie Marthe Henriette who was under two years old.  She married León Alfred Sabatier in 1912.  It is believed that Méha was still involved with the company after World War Two, but that’s a topic for future study.   

More history of the Besson company can be found in a very well researched and written 2016 dissertation of Jocelyn Howell on the history of the Boosey & Hawkes company.