Carving dramatic shapes from hard stone and adorning them with precious metals and gems, Madame Belperron drew on motifs from a range of cultures, creating a daring new look in fine jewelry.

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

• Rock crystal, old mine-cut diamond, onyx, platinum, gray gold and black lacquer.

• Black star sapphire and 18k gold.

• Blue opal, chalcedony, 22k virgin gold and 18k gold.

• Green opal, 22k virgin gold, and 18k gold.

• Aquamarine and 18K gold.

22k virgin gold set with two round old mine cut diamonds

22k virgin gold set with an oval cabochon emerald weighing over 13 carats

Chalcedony, diamond and platinum

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Madame Belperron often favored working with carved chalcedony. This dappled beige and blue rock forever marked Belperron’s subtle palette, reflected in the powdery and iridescent hues of her work.

• Old mine-cut diamond and platinum.

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

Carving dramatic shapes from hard stone and adorning them with precious metals and gems, Madame Belperron drew on motifs from a range of cultures, creating a daring new look in fine jewelry.

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

Marquise diamond set in 22k “virgin” gold

Round diamond weighing over 6 carats set in 22k “virgin” gold

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

• Diamond and platinum.

Coral and 18k gold

Yellow and gray gold mount in a torsade design set with 33 diamonds in three sections of alternating pavé diamond and gold gadroons. Size 4.5 with a spring ring. Circa 1932-1974.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled and burnished to achieve a uniquely raw texture.

Seventeen lapis lazuli beads with gold finials on an 18k yellow gold torque necklace

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

White topaz and 18k gold

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Coral and 18 gold

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

old mine-cut diamond, 18K gold and platinum,

Ruby, sapphire, emerald, spinel, amethyst, citrine, diamond and platinum.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Sapphire and 22k “virgin” gold

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Turquoise, apatite and 18K gold

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled, and burnished to achieve a uniquely raw texture.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled and burnished to achieve a uniquely raw texture.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled and burnished to achieve a uniquely raw texture.

Inspired by a paperchain, simple in design but rendered in fine 18k gold

Carved chalcedony and 14k yellow gold mount set with one round pearl. Circa 1932-1940.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

Madame Belperron’s “toit,” or roof, design was named for its gable roof design, which rose to a peak above two steep pitches on either side, a ridge running along the center.

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, which she referred to as “virgin” gold

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918. 

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Diamond, platinum and 18k gray gold

One of Madame Belperron’s many novel ideas was the concept of trompe l’oeil jewels that gave the impression of a series of separate jewels stacked together. In her Corne earclips, a series of graduated hoops simulate the effect of numerous earrings. Reminiscent of an animal’s horns, the earclips symbolize strength and power, a message that still resonates half a century later.

• Black jade and white agate, carved in the style of traditional Chinese discs, and 18k gold

East Asian art had fascinated Suzanne Belperron since her student days. Many of her jewels featured red and black enamel detailing reminiscent of Oriental lacquers.

East Asian art had fascinated Suzanne Belperron since her student days. Many of her jewels featured red and black enamel detailing reminiscent of Oriental lacquers.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Like many artists, Madame Belperron was inspired by the shapes and colors of the botanical world. What sets her apart today is her ability to see underlying patterns and configurations — and edit them into their purest form.

Diamond, black lacquer, platinum and 18k gray gold

Blue chalcedony and 18k gold

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Carved frosted rock crystal “Pierre Noyee” or “Drowned Stone” mount set with one round black pearl and two baguette diamonds set in platinum bezels. Size 5. Circa 1932-1939

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

18k yellow gold bezel mounts set with six oval cabochon green and pink tourmalines and four 22k virgin yellow gold batons

18k gray gold mounts set with two carved white agate and twenty-four buff-top blue sapphires

Madame Belperron frequently worked with 22 karat gold. She loved its uniquely raw texture, referred to as “virgin” gold.

A number of Suzanne Belperron’s motifs derive from natural origins, encrusted in diamonds as if dipped in some magical substance.

Carving dramatic shapes from hard stone and adorning them with precious metals and gems, Madame Belperron drew on motifs from a range of cultures, creating a daring new look in fine jewelry.

Suzanne Belperron designed diverse elements that could be added or removed to obtain the appropriate level of adornment; necklaces with detachable ornaments, earrings with removable pendants, and brooches that clipped into cuffs.

Carving organic shapes from hardstone and adorning them with precious metals and gems, Madame Belperron drew on motifs from a range of cultures, creating a daring new look in fine jewelry.

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

The “serti couteau” or “knife-edge” setting, resembling the outline of an irregular honeycomb, achieves the random patterns and painterly variations in light and color that became an integral part of Madame Belperron’s designs for its cohesive harmony.

A spectacular example of Belperron’s nuanced mastery of color. Using only shades of blue and the shape and depth of her stones, Belperron adorns the neck in a wash of color, like a loose brushstroke across the collar. To simulate haphazard placement, Belperron often spilled stones directly onto the table but then carefully mapped out each stone’s placement, indicating in her designs where the “light” and “dark” gems should be set. Often favoring cabochon stones for their unusual domes and subtle glow of color, she capitalized on their unique shapes to create a soft texture to her work.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

An exceptional model of Madame Belperron’s carved hardstone work. The creamy agate body is carved and polished to reveal a soft, even hue, a testament both to the quality of the material and the expertise of the lapidary who transformed it into Madame Belperron’s vision.

BURMA RUBY, DIAMOND AND PLATINUM

The “Bibendum” ring, one of Suzanne Belperron’s most popular designs, represents the cross-pollination of decorative arts in 1920s and 30s Paris.  It replicates the contours of the Michelin Man, also known as Bibendum, the French tire company’s mascot since 1898.  In 2015, the Bibendum ring was reintroduced for the launch of the Belperron Salon on 5th Avenue, modeled after the designer’s own ring and reproduced in rainbow moonstone and 18k white gold.

Like many artists, Madame Belperron was inspired by the shapes and colors of the botanical world. What sets her apart today is her ability to see underlying patterns and configurations — and edit them into their purest form.

Like many artists, Madame Belperron was inspired by the shapes and colors of the botanical world. What sets her apart today is her ability to see underlying patterns and configurations — and edit them into their purest form.

Inspired by a paperchain, simple in design but rendered in fine 18k gold

Madame Belperron frequently worked with 22 karat gold, which was hammered, chiseled and burnished to achieve a uniquely raw texture.

Suzanne first experimented with the spiral in a 1918 decorative pattern for a wax seal. Throughout her career, she uses this simple Fibonacci motif often, from the whorl of a shell, to the coil of a tendril, to a pure abstraction.

Suzanne first experimented with the spiral in a 1918 decorative pattern for a wax seal. Throughout her career, she uses this simple Fibonacci motif often, from the whorl of a shell, to the coil of a tendril, to a pure abstraction.

Hidden within the ornamentation of Madame Belperron’s earliest designs are renderings of the wave motif. She refined the motif over the decades of her career, distilling vines and leaves into a rhythm of undulation and interval. Today the wave motif is as modern as it was when it was first introduced in 1918.

Chrysoprase, two cushion-cut green tourmalines and 18k gold.