Hobé - Collecting Costume Jewelry 101

Dates of Operation: In France Mid 1800’s, In US 1927 – ~1995.

Jacques Hobé was a well-respected jeweler in France. There are records of his work dating back to the mid-1800s. William Hobé, Jacques’ grandson, relocated in the United States, became a U.S. citizen, and started his jewelry business in 1927. It was called Hobé et Cie (Hobé and company).

The Jewelers Circular Keystone of March 1938 featured an advertisement for Hobé offering jewelry of his own design. His jewelry was made of sterling silver and semiprecious stones and was entirely hand-made by a group of artists and master artisans.
Brunialti, Carla Ginelli and Roberto. American Costume Jewelry Art & Industry, 1935 – 1950 Volumes A – M. Atglen, PA: Schiffer Publishing Ltd., 2008. p. 213.

The jewelry designed by William Hobé was inspired by “old world” designs including replicas of antique jewelry and Victorian jewelry. William had strong connections to the theatre and created jewelry designs for the Ziegfeld follies! Some of the early designs are known to feature semi-precious stones including amethyst, garnet, and lapis.

William Hobé felt that jewelry and costumes were irrevocably intertwined, and he meticulously studied period design, becoming an authority on historical costuming and authentic settings.
Ball, Joanne Dubbs. Costume Jewelers, The golden Age of Design. West Chester, PA: Schiffer Publishing Ltd., 1990. p. 77.

The design patents from 1927 through February 1941 list William as the designer except for a brief period from May 4, 1948 to September 7, 1948, when his wife Sylvia was listed as the designer for the “Ming” series.

The patented designs include an extraordinary series of oriental figures called “Ming,” with faces and bodies made of sealing wax red plastic in imitation of a Chinese wood called “bandora.” P. 213
Brunialti, p. 213

Design Patent number 149,493 issued to S. Hobe on May 4, 1948

This design is a variation of Sylvia Hobé’s patent shown above.

Left: The 2 1/4″ pin above features a faux “bandora” figure surrounded by vermeil flowers. The distinctive design of the flowers is a brand trait of many Hobé designs. Right: This Hobé cartouche is called the “house” or shield cartouche by collectors and is frequently found on 1940s era sterling designs.

Even though no other designers are listed on the patents there may have been other designers including Lou Vici who was with Hobé from ~1930 -1970.

By the 1950s, with the emergence of many new brands, and the post-war changes in the fashions, Hobés aesthetic also changed. After 1950 the designs included more rhinestones and less intricate metal work. The “old world” look of the jewelry continued with mesh designs, wire-work designs, cameos and multi-chain designs.

The Ralph DeMassa company, located in Providence, Rhodes Island, is a known manufacturer of Hobé jewelry. Over its long history, Hobé also purchased designs for the Hobé brand, from manufacturer DeLizza and Elster. (February 15, 2022 article in Antique Trader titled The Legendary Splendor of Hobé Jewelry by Pamela Wiggins Siegel.)

Frank DeLizza describes a meeting in 1969 with Don Hobé in his book Memoirs of a Fashion Jewelry Manufacturer.

At one of the jewelry shows Don Hobé walked into the room and asked if we were the ones who were making the fancy belts for K.J.L. and other wholesalers. I said I was the one, and he asked me to come to their factory in Yonkers so that we could work out a confined belt for them. A few days after the show I went to see the two brothers. We picked out a few belts and made the necessary changes to make them a little different from what was already in our line. We did a nice job with them for a while.
DeLizza, Frank. Memoirs of a Fashion Jewelry Manufacturer. New York/Florida: DeLizza Publishing, 2007. p. 84.

Author’s Note: One of the best resources to view Hobé designs is the Jewel Chat Magazine www.morninggloryjewelry.com showcasing rare Hobé treasures from three high-end collectors.

Gallery

1940s

Many sterling, hand-made floral designs from the 1940s are available today for reasonable prices. These designs are distinctive and easily recognizable as Hobé due to the intricate metal work. Many are made of sterling, some with 1/20th 14K gold plated elements. Beautiful rhinestones are set in some designs usually in aquamarine, ruby, golden topaz, or amethyst colors.

Although marked Design Pat. there is no known patent for this pin. The use of vermeil dates this 2 1/2″ Hobé design to between 1941 – 1947. The two-tone tassels narrow the date range to the end of the 1940s when tassels appear in the known design patents. The use of both vermeil and sterling in a cohesive design is a brand trait of Hobé sterling designs. The hand-made design is intricate and detailed with spring-like curls of metal, metal ribbons, and leaves. The tassels hang from metal “buds”. The bud design is also a brand trait of Hobé.

Note the interesting stabilization bars used in the construction. The curved bar at the top is part of the overall design but also serves to secure the design to the oval frame. Sterling silver is soft and easily bent, so it is a necessary construction element. The bottom bar is thicker and only visible from the back. This bar holds the tassels in place.

Left: This bow design with a floral element gathering the ribbon together. is a brand trait of Hobé. Right: The Hobé shield, or house shaped cartouche helps date this design to the 1940s.

This unsigned size 6 Hobé ring is sterling and dates to 1941 – 1947. The ring is beautifully constructed. A thick wire, shown from the back, frames the design and creates the shank of the ring. A floral element, similar to the one shown in the pin above, gathers the metal ribbon into a bow. This ring is not signed but exhibits enough Hobé brand traits to be reasonably certain it is Hobé.

This popular 3″ Hobé bow pin matches design patent number 151,990 issued in 1948. Many brands designed bow motif jewelry; however, this example is quintessential Hobé due to the exquisite metal work.

Design patent number 151,990 issued Dec. 7, 1948 to W. W. Hobé.

A faint number 23 is etched into the Hobé signature plaque, possibly identifying the person responsible for setting the stone.

The stone is a faceted ruby rhinestone, bezel set in the center of a metal rose. The tiny floral elements and flower buds are typical of Hobé designs. The lacy design is an intricate arrangement of lines and curves with open-space creating the look of lace.

Except for the stem, the front of this 3 1/2″ Hobé pin is vermeil, but the back is un-plated sterling. The beautiful shine testifies to the quality and thickness of the vermeil. This design dates to the 1940s but does not exactly match known design patents. The design is a variation on two designs from the 1944 era. The leaves and the cluster of buds are from design patent number 138,929 shown below. The center rose with the gold collar and the ribbons on the right are part of design patent 138,930. This is a well-balanced asymmetrical design.

Left: Design patent 138,929 Right: Design patent 138, 930. Both patents were issued in September of 1944.

It is a Hobé brand trait to combine design elements from an original design to innovatively create new designs.

Left: Note the interesting way the wire is bent over the stem as if to hold the other wires in place. Some Hobé designs have this trait, some do not. Right: Round signature plaque with STERLING 14K and Hobé in a rectangle.

In the early 1950s, Hobé et Cie remained a family business run by William’s sons Robert and Donald Hobé and in time, William’s grandson, James.

One of the tenants of a successful brand is their ability to adapt to the changing fashions. After 1948, Hobé began producing rhinestone jewelry and beads to compete with the surge of interest in affordable, yet eye-catching jewelry. The Hobé designs from the 1950s and 1960s maintained the design and manufacturing quality associated with the Hobé name.

Hobé Gallery 1950s – end

Beginning in 1957 through the mid-1960s Hobé both signed and dated their designs.

1957

The black stones featured in this 1957 Hobé set are called “Mayorka petal stones.” The design of these stones is design patent number 178,000 issued to Julio J. Marsella on June 12, 1956. Many brands incorporated petal stones, available in a variety of colors, into their designs. The Hobé petal stone jewelry is especially collectible today due to the exquisite way Hobé incorporated them in their high-quality designs.

Left: The black petal stones are set with “fancy” prongs and outlined by crystal rhinestones giving this design a “royal” richness. Lines of metal, tipped in rhinestones, radiate from the center stone to add depth and sparkle to the design. Middle: Stacking petal stones with a fringe of baguette rhinestones form the elegant clip earrings. The fringe of baguette stones is an innovative design element that follows the natural curve of the ear. Right: The unique stem is made with two curved lines of rhinestones.

The gold plate is thick and shiny. The style of the earring back, with the comfort roller, is a brand trait of many Hobé earrings. All of the heart-shaped petals are signed and dated. The earrings are signed but not dated.

This triple strand Hobé necklace features crystal and glass beads strung on chain. It measures approximately 17″ including the clasp. The clasp is designed with black Mayorka petal stones set in silver tone metal.

Left: Cluster of petal stones with fancy prongs and decorated with crystal rhinestones. Middle: This view shows the Hobé signature and the way the chain is attached to the clasp. Right: Close view of the 1957 Hobé signature stamp.

1965

Left: A navette-shaped stone, suspended from a wire, is bent over each flower. This is called “wire-over” and is a high-end design element. Center: Back view showing comfort roller-back earrings and the shiny gold plating. Right: Stamped Hobé 1965 signature.

Many brands produced butterfly motif designs. This Hobé design is especially lovely due to the way the skinny navette, olivine stones are used to define the shape of the wings and body. Aurora borealis stones outline the design. This is a dimensional design that curves to catch the light.

Left: Back view showing the shiny gold plate Middle: Side view showing the curved design Right: Signature plaque

Both of these holiday pins are signed Hobé 1965. The profile design of the 1 3/4″ angel is unusual. The angel has ribbed gold tone wings, a halo, a flowing robe of crystal rhinestones, and is carrying a “pearl” candle. The 1 1/2″ wreath is comprised of hand-wired beads on a mesh frame covered by a solid backing plate.

1966

Left: Back view showing the rhodium plating and open-backed sapphire rhinestones Right: The pendant hanging from the pin matches the pendants on the clip earrings. Baguettes, graduating in size, are carefully placed to form a “V” shape. Sold as a boxed set, the earrings are unsigned.

Signed Hobé 1966, this whimsical 2 1/2″ ballerina pin is a study in how to effectively use rhinestones to shape a design. Tear-drop shaped stones form the body and the “on-point” feet. The skirt is comprised of rhinestone chain. The head is an oval stone crowned by rhinestone chain.

Pins

Large 4″ Hobé flower pin dating to the mid 1960s.

Left: Curving lines of rhinestone chain are soldered together to form the interesting stem. Middle: Close view of the bi-color blue/green stones forming the flower petals. They are suspended within a circle of olivine stones.

Attractive Hobé 2 3/4″ abstract leaf pin with ruby and crystal rhinestones. The distinctive grid pattern draws the “eye” to the center decoration of this well-balanced asymmetrical design.

This piece is rhodium plated and was originally sold with matching clip earrings.

Dating to the mid-1960s, this floral is hand-wired to a mesh frame. Since the stem is on wire, it can be bent to change the look of the floral.

The backing plate covers the wires looped through a hidden mesh plate.

This Hobé abstract floral design is especially eye-catching due to the strong contrasting colors: turquoise and black. It is a dimensional piece with black plating dating to the 1960s or 1970s. It is a slightly unbalanced asymmetrical design.

The side view shows the dimensional shape.

Three intersecting circle pins are sometimes called Trinity pins. This example measures 1 1/2″. Note the “cute”, tiny Hobé cartouche.

1960s Hobé 2″ four-leaf clover pin with green cabochon stones set in four heart-shaped leaves and decorated with olivine rhinestones. This is a monochromatic color scheme designed to highlight the cabochon stones. The pin is signed Hobé with the copyright symbol.

Measuring 1 1/2″ this framed portrait pin of a Victorian lady was a popular motif in the mid-1960s. This example features smoky quartz (black diamond) rhinestones and pearls.

Attractive 2 1/4″ Hobé Christmas tree pin using wire elements to form the outline of the design and navette-shaped rhinestones to complete the tree shape.

Back view showing the gold tone plating and the heart-shaped metal elements.

The color scheme for this Hobé Santa pin includes ruby rhinestones (hat and eyes), pink rhinestones, and opal rhinestones. Although tassels were used by other brands, they are a brand trait for many Hobé designs. The pin is signed Hobé with the copyright symbol and dates to the mid-1960s.

Sets

This well-made Hobé necklace measures 16″ with a 3″ fringe. It is unsigned. Fortunately, the matching 1″ clip earrings (1 1/2″ fringe) are still with the necklace. They are signed Hobé with the copyright symbol.

Hobé often only signed one piece in a set. Fringe jewelry was a popular motif in the 1960s. Jewelry designs featuring fringe were produced by other brands including Hattie Carnegie, so care must be taken when assigning a brand to unsigned fringe jewelry from this time period.

This Hobé set is especially well-made due to the decorative elements placed to gather the ten strands of chain together. Curving lines and high-end stones are key to the beauty of these elements. They include baguette crystal stones and crystal rhinestones. These same elements are present in the design of the earrings. Each strand of the fringe ends in a rhinestone. This design is fluid, eye-catching, and comfortable to wear.

Back view showing the clean, flawless construction.

The use of multiple metal chains in a design is a Hobé brand trait.

Author’s Note: After 1950, dating Hobé necklaces to a specific decade is difficult. If there is a copyright symbol in the signature, the jewelry is likely after 1955. If there is no copyright symbol, the signature is blurred, poorly stamped, or in an obscure location, dating becomes a judgement call based on the design. Some post 1955 designs are signed Hobé without a visible copyright symbol.

The faceted, oval-shaped, glass cameo is recessed. The cameo pin measures 1 3/4″. The bracelet is 7 1/4″ with a 1 1/4″ cameo.

The design of the cameo and the copyright symbol in the signature date this set to 1955 – 1960s.

Left: Back view showing the construction. The chains are soldered together in the same way as the fringe set shown above. Middle: The pin is also a pendant. The loop is hinged so it stays down when worn as a pin.

Both the 17″ necklace and 7 1/2″ bracelet are strung on chain. The geometric arrangement of pearls and faceted smokey quartz glass beads required careful sizing, and stringing, so the rectangles of color hung properly when worn. The contrasting colors of the white pearls and the smokey quartz, bicone beads enhances the symmetry of the design. The decorative square clasp is the star of the show. It is comprised of round, smoked topaz rhinestones outlined by baguette-shaped, smoked topaz rhinestones.

Left: Back view showing the beautiful gold plating. Middle: The clasp is decorated with one matching baguette stone set in “two-finger” prongs. Right: Blurred Hobé signature.

Despite the lack of a copyright symbol in the signature, the colors of the stones and the design of this set suggests this set dates to the late 1950s – 1960s.

These classic black and white, Hobé, double strand glass beads measure 14 1/2″ but expand to 18″ with the extension chain. The matching 3/4″ earrings feature the same beads.

Top Left: The set dates to the late 1950s – 1960s. Middle: Close view of the beads. Right: The “crown” shaped clasp is typical of many Hobé bead necklaces. Bottom: The Hobé signature on this style of clasp is often difficult to read. Sometimes the accent over the “e” and the copyright symbol over the “o” are obscured.

These high-quality art-glass beads date this set to the 1950s – 1960s. The double strand necklace measures 14″ but expands to 18″. The clasp (not shown) is the same style as the white beads above with a difficult to read mark. The unsigned earrings measure 2 1/4″.

Left: The wire beads add an innovative, modern touch to this design. Right: Bits of foil are added to the glass to create these art-glass beads. They reflect light to add a green sparkle to the orange beads.

Bracelets

This 1960s era Hobé mesh cuff bracelet fits an average size wrist. The mesh background is decorated with crystal rhinestones set in a zig zag pattern.

Left: Close view of the crystal decorations soldered to the mesh cuff. Middle: Back view of the cuff opening. Right: Hobé signature soldered to the inside of the bracelet.

This elegant Hobé 1960s era design features oval ruby stones crowned by three rows of crystal rhinestones. It is a fully symmetrical, line bracelet with a safety chain. Earrings and a necklace were made to match (not shown). This versatile design was also available in sapphire.

The thick rhodium plating is in excellent condition.

Necklace

The antiqued gold tone hardware has the “old” world look associated with many Hobé designs. The Hobé signature on the hook has an “R” for registered trademark and dates this necklace to after 1981 when the name was last registered.

Conclusion

The advertising slogan most often associated with Hobé is Jewels of Legendary Splendor. Hobé was advertised in fashion magazines and a favorite with Hollywood stars. It is highly collectible today with a huge variety of designs available to please many different collectors.

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