Right now, art enthusiasts and collectors alike could use a touch of beauty and inspiration. There is a distinct, grounding pleasure to be found in acquiring a terrific piece of art jewelry for oneself while simultaneously celebrating and supporting the visionary artists and dedicated galleries that champion contemporary work across the globe.
The Art Jewelry Forum’s international network of gallery supporters continuously celebrates and exhibits the cutting edge of art jewelry. Through the organization’s bi-monthly On Offer series, this extensive international network is given a platform to showcase extraordinary pieces personally selected to tempt, provoke, and inspire viewers. A close look through the current edition reveals an array of compelling works, ensuring that anyone exploring the showcase is bound to find a fantastic piece they simply cannot live without. For those interested in acquiring these works or learning more about specific pieces, collectors are encouraged to contact the hosting galleries directly for inquiries.
The September 2026 presentation opens with a striking brooch by artist Mélanie Denis, titled J’Aime Hydro, showcased by Pistachios Contemporary Art Jewelry in Chicago, Illinois. Priced at US$1,595, this unique brooch addresses profound themes of memory, loss, and grief. Denis’s solo exhibition at the gallery, titled Transition, presents a powerful body of work created over the span of three years. The collection maps a journey crossing three territories, three inner states, and three defining moments of the artist’s life.
Explaining the conceptual roots of the collection, the artist notes that the works were created largely in Mont Bélair, a vast forested territory on the outskirts of Quebec City, Canada. The initial pieces bear witness to a deep attachment to a place of refuge that ultimately became the setting of a painful rupture and a necessary departure. The dark and silent winter landscapes reflected in the early pieces gradually give way to a vibrant palette where the signs of a transition toward a new territory begin to emerge. The final phase of the collection, titled Renaissance, marks the artist’s arrival in an urban environment chosen in accordance with personal values and reclaimed freedom. In these concluding pieces, the colors soften, landscapes become more human, and the creative process rediscovers a space of trust, gentleness, and free expression. Interested buyers can reach out to Meg Nash at the gallery regarding this piece, which is crafted from sterling silver, Plexiglas, photographic paper, ink, gold leaf, acetate, cotton, acrylic, and steel, measuring approximately 3 by 3 inches.
Traveling to the Southern Hemisphere, Fingers Gallery in Auckland, New Zealand, presents a pendant by artist John Ecuyer from the Kina/Abundant series. Priced at NZ$320 and managed through contact Lisa Higgins, the 2026 pendant is crafted from jarrah burl wood sourced from Western Australia and measures 4 inches by 2.5 inches. Born and currently living in Whangarei, New Zealand, Ecuyer began creating turned wooden objects in 1988. This initial craft led him to explore a diverse range of other techniques and materials, including stone, bone, and cast glass, driven by a special interest in the relationship between his work and the art of healing across both past and present eras. Ecuyer’s impressive resume includes collections held in prominent institutions such as New Zealand’s Auckland War Memorial Museum, the Dowse Art Museum, and the Whangarei Art Museum. Furthermore, his work has entered the collections of the Detroit Institute of Art and the Maoli Wood Art Museum in Taiwan, while his exhibition history spans international creative hubs including Los Angeles, Detroit, Korea, and Australia.
In the United States, the Wearable Art Museum presents Fringe Benefits, a striking collar created by artist Marty Ornish from the On the Fringe collection. Available for $1,200 through museum director Lisa M. Berman, the piece is constructed from a historical 100-year-old cotton quilt, batting, letterpress ink, and fringe, measuring 24 by 20 by 22 inches. Operating under the daily studio mantras of zero waste, "loved to death," and "nothing is new," Ornish—affectionately known as MartyO—is an established artist recognized for her politically charged, thought-provoking museum exhibitions that utilize fabric as raw material and complex meaning as substance. A prime example of her socially engaged practice was her 2021 Social Security exhibition at the Oceanside Museum of Art in California. Known for her distinct style and sharp intention, Ornish aims to make "examples" of society’s waste, transforming discarded items into new wearable sculptures. This philosophy is vividly embodied in her On the Fringe collar series, which has been featured as part of the California Fibers The Languages of Fiber exhibition at the Huntington Beach Art Center.
Moving across the Atlantic to Lisbon, Portugal, Galeria Reverso offers a window into the rich history of European glass manufacture through the work of Gesine Hackenberg. Represented by gallerist Paula Crespo, the gallery features Precious Fluids #1, a 2012 brooch crafted from silver-plated glass and red brass, offered at €940. This piece forms part of the artist’s broader Kitchen Glass Brooches and Still-lives Collection. Hackenberg describes the series as a contemporary interpretation of 17th- and 18th-century Dutch still-life paintings, which traditionally depicted items of everyday life that held immense economic and emotional significance for people of that era. By cutting vintage glassware and rearranging the fragments into new compositions and still-lifes, the artist creates a literal translation from three-dimensional domestic objects to two-dimensional shapes, ultimately elevating down-to-earth glasses and bowls into precious jewelry where the body of the wearer assumes the role of a canvas. Through this work, Hackenberg simultaneously pays homage to the history of European glass manufacturers and their designers, particularly those rooted in the Netherlands, Germany, and Scandinavia.
In Adelaide, Australia, Zu design presents SOS Graffiti, a long, striking neckpiece by artist Linda van Niekerk from her 2026 series Just Saying. Priced at AU$1,360 and coordinated through gallerist Jane, the 47.25-inch-long piece is crafted from sterling silver, oxidized sterling silver, and silk. Discussing the conceptual background of the series, van Niekerk writes that in a world gone mad—where political, social, financial, and environmental aspects of life increasingly defy reason—she began making works to vent, rage, and poke fun at the prevailing insanity, viewing the collection as a form of "protest with a smile."
Galerie Noel Guyomarc’h in Montreal, Canada, highlights the striking work of Märta Mattsson with the brooch titled Goliath. Priced at €3,200 and available through gallerist Noel Guyomarc’h, the 2026 piece incorporates a real Goliath beetle, cicada wings, lacquer, resin, pigments, silver, gold-plated silver, and stainless steel, measuring over six inches across. With this new collection, titled Glow against the Dark, Mattsson continues her long-standing, vibrant exploration of insects and the complex ideas they can convey, resulting in bold, colorful works that assert their distinctiveness with absolute confidence.
In Stockholm, Sweden, Platina gallery presents an untitled 2024 oxidized silver necklace by artist Ameli Dévé, priced at US$3,600 and coordinated by gallerist Sofia Bjorkman. Dévé frequently draws upon universal symbolism and familiar, traditional forms such as the braid. In this specific work, she utilizes pure fine silver, taking advantage of its material softness to shape the metal into forms that would otherwise be exceptionally difficult to achieve. By stretching and pushing the material to its absolute limits, her results simultaneously allude to traditional craftsmanship while actively pushing its boundaries and re-examining classic structural norms. Born in the north of Sweden and currently based in Gothenburg, Dévé completed a rigorous three-year apprenticeship in Tibet making traditional jewelry before continuing her studies in Sweden, New Zealand, and France, ultimately earning an MFA degree in jewelry art from the Academy of Design and Crafts in Sweden.
London-based gallery Objects Beautiful features the intricate brooch Dogger Bank II by Danish/Dutch artist Gitte Nygaard. Priced at £1,930 GBP excluding tax and available through gallerist Yael Reisner, the brooch can be worn showing either side and is constructed from a rich medley of organic wool, plant-dyed weld silk, cotton, Japanese washi and gampi paper, indigo-dyed hemp denim, Nakachu silk thread, silver, and a stainless steel pin. Tamed by an elegant silver oval ring clasp, the work is named after the large, shallow sandbank in the North Sea. Much like the sea itself, the brooch remains porous, carrying memory not merely as a fixed image, but as a tangible material presence. Reisner regards Nygaard as one of the most important European art jewelers working today, noting that the artist’s relative lack of international recognition—stemming partly from a deliberate choice to forgo an Instagram presence—belies a profoundly talented, modest, and serene artistic practice.
At Brooklyn Metal Works in New York, In the Gallery presents 7.62 x 39 (Oh Well), a titanium, vegetable-tanned leather, and cotton necklace by artist Kerianne Quick. Priced at US$1,500 and managed by Brian Weissman, the piece belongs to the Oh Well collection, which draws inspiration from historical and contemporary forms of body armor such as bibs, utility wear, aprons, and tactical vests. By incorporating titanium "wound" inserts informed by slow-motion projectile testing and forensic images of high-caliber bullet wounds, Quick transforms the grim evidence of bodily trauma into objects of personal adornment, interrogating contemporary notions of manufactured protection and false security.
Four Gallery in Umeå, Sweden, showcases the work of Alexander Blank with the brooch Bones & All, created in 2025 from Corian and silver. Priced at €680 excluding VAT and coordinated by Karin Roy Andersson, the piece explores the multifaceted nature of human hands. As tools that cook, build, clap rhythms, make fires, heal, destroy, and increasingly swipe digital screens, hands are typically understood as instruments serving the brain’s commands. However, Blank’s work asks a speculative question: What if the hands had enough? What if they wanted to break free and forge an independent reality? The resulting piece offers a glimpse into a speculative evolutionary path where hands and fingers break away to become entirely themselves.
Gravers Lane Gallery in Philadelphia presents Pomponner, a massive felted wool necklace by artist Teresa Shields, priced at US$6,700 and available through Mia Chen. The French term pomponner refers to the act of dolling oneself up and preparing oneself to be looked at, a theme central to Shields’s broader I Feel Seen collection. Working in felted wool—a handiwork historically relegated to domestic and female spheres—Shields tackles the female gaze, examining the lifelong experience of being watched and judged without ever truly being seen. The tiered, architecturally structured necklace utilizes a color logic inspired by the theories of artist Hilma af Klint, where blue signifies the feminine, yellow the masculine, and pink denotes love. The piece fastens securely with hidden magnetic clasps and includes magnetic wall mounts so it can be displayed as an art object when not worn.
In Lewes, Delaware, Heidi Lowe Gallery offers On a Whim Tattoo, a 2026 brooch by artist Carin Jones. Priced at US$350 and coordinated by Kassadi Williams, the brooch is crafted from a vintage tin, sterling silver, acrylic, brass signature bolts, and stainless steel. Jones focuses extensively on historical specimens such as vintage tins, deliberately replacing traditional gemstones with found objects set within finely crafted precious metals to challenge conventional notions of value, grandeur, and artistic merit.
The Baltimore Jewelry Center in Maryland features Time Machine, a 2024 brooch by North Carolina-based metalsmith and enamelist Evelyn Kline. Priced at US$1,450 and managed by J Diamond, the brooch is crafted from enamel, copper, sterling silver, and fine silver, measuring 3.5 by 4.5 inches. Kline holds a BFA from Appalachian State University and has completed residencies at the Arrowmont School of Arts and Crafts and the Baltimore Jewelry Center. Describing the personal genesis of the work, Kline recounts finding unexpected comfort during a period of intense life change by visiting an unrenovated local grocery store that had remained untouched since the early 2000s, serving as a physical portal to the comforting memories of her childhood.
Concluding the September showcase, Galeria Tereza Seabra in Lisbon presents Alfinete Original (Original Brooch) by Catarina Silva. Priced at €750 plus shipping and coordinated by Tereza Seabra, the 2026 brooch is crafted from leather, glass seed beads, silk thread, zinc, silver, and stainless steel. The piece was created for Silva’s solo exhibition Jardin d’agrément, featured as part of the third Lisbon Jewellery Biennial program. The exhibition imagines a lush, utopian garden inspired by cross-cultural paradisiacal gardens where humans, animals, and plants coexist beyond hierarchy in a shared ecology of wonder. Featuring recurring symbolic motifs like apples, unicorns, flowers, and birds that evoke knowledge, fertility, and transformation, the exhibition positions the snake not as a tempter, but as a guardian of wisdom and regeneration. Rather than lamenting a lost Eden, Jardin d’agrément serves as a poetic proposal inviting viewers to imagine alternative ways of inhabiting the world.
