Right now, art lovers and collectors alike could use a thoughtful treat. There is a distinct, grounding satisfaction in acquiring a terrific piece of contemporary art jewelry for oneself while simultaneously celebrating and supporting the independent artists and international galleries that champion them.
The Art Jewelry Forum’s international gallery supporters continuously celebrate and exhibit groundbreaking art jewelry from around the globe. Through the organization’s bi-monthly On Offer series, this extensive network of international art spaces is provided a dedicated platform to showcase extraordinary, hand-selected pieces designed to tempt, challenge, and inspire collectors. This ongoing showcase invites enthusiasts to browse a curated selection where they are bound to find a fantastic piece they simply cannot live without. For those interested in acquisitions, inquiries can be directed straight to the representing galleries.
The September 2026 showcase opens in Adelaide, Australia, with Zu design, where gallerist Jane represents artist Linda van Niekerk. Van Niekerk presents Silver Cloud Burst, a 2025 neckpiece crafted from sterling silver and silk. Measuring 19 inches long with a chenier measuring 8 inches in diameter, the piece is captured in photographs by Peter Whyte Photography. Listed at a retail price of AU$1,750, the neckpiece is part of van Niekerk’s broader Clouds series. This body of work finds its primary inspiration in the vast, sweeping skies of Tasmania, reflecting both the distinct shapes of cloud formations and their constantly shifting, evolving nature. Interested buyers can reach out to Jane at Zu design directly.
Moving to Lisbon, Portugal, Galeria Tereza Seabra features the work of artist Catarina Silva, presented by gallerist Tereza Seabra. Silva’s recent piece, an untitled pendant created in 2026, is fashioned from oxidized silver, lapis lazuli, and tinted agate. Measuring 2 x 2 x 1/2 inches with a 9-inch-long chain and photographed by Pedro Tropa, the brooch is available for 750€ plus shipping. This work was recently created for Silva’s solo exhibition, Jardin d’agrément, which forms part of the official program of the third Lisbon Jewellery Biennial.
The exhibition Jardin d’agrément imagines a lush, utopian paradise inspired by mythological and cross-cultural gardens of the gods. In this conceptual landscape, humans, animals, and plants coexist harmoniously beyond hierarchy within a shared ecology of reciprocity and wonder. Within this framework, jewelry functions as a living constellation of symbols—including apples, unicorns, flowers, birds, and Marian imagery—that collectively evoke knowledge, care, fertility, and transformation. At the heart of the exhibition, the snake is reimagined not as a traditional tempter, but as a guardian figure symbolizing wisdom, regeneration, and the continuous cycle of life. Rather than lamenting a lost Eden, Silva’s work offers a poetic fiction that invites viewers to imagine new ways of inhabiting the world, where coexistence is practiced as a living reality.
In the United States, the Heidi Lowe Gallery in Lewes, Delaware, presents the work of artist Carin Jones. Represented by Kassadi Williams, Jones offers On a Whim Tattoo, a 2026 brooch constructed from vintage tin, sterling silver, acrylic, and signature brass and stainless steel bolts. Measuring 2 1/2 x 2 1/4 inches and photographed by Kassadi Williams, the brooch is available at a retail price of US$350. Jones’s artistic focus centers heavily on historical specimens, such as repurposed vintage tins, substituting traditional, high-value gemstones with humble found objects set within finely crafted precious metals. This deliberate juxtaposition challenges conventional notions of material value and artistic grandeur, inviting viewers to fundamentally reconsider the relationship between intrinsic material worth and true artistic merit.
Heading north to Umeå, Sweden, Four Gallery and gallerist Karin Roy Andersson spotlight the latest work of artist Alexander Blank. Titled Bones & All and created in 2025, the brooch is fashioned from Corian and silver, measuring 2 1/2 x 2 x 1/2 inches with photography by Mirei Takeuchi. The piece is retailed at 460€, excluding VAT. Blank’s conceptual foundation explores the multifaceted nature of human hands as tools that make things happen—cooking, building, clapping rhythms, making fires, killing, healing, and, in modern times, swiping and pressing digital buttons. While hands traditionally carry out the plans formulated by the brain, Blank poses an alternate speculative narrative: What if the hands had finally had enough? What if they wanted to break free and create an entirely new reality? Blank’s latest creations offer a fleeting glimpse into this speculative evolutionary path, where hands and fingers achieve independence and freedom to finally become themselves.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works—represented by Brian Weissman—presents work by artist Kerianne Quick. Titled .223 Remington (Oh Well), the 2026 piece is a large-scale brooch constructed from titanium, vegetable-tanned leather, and cotton, measuring 6 1/2 x 17 x 1 inches with photography provided by the artist. Priced at US$1,750, the piece belongs to a collection of leather and titanium necklaces and brooches that draw direct inspiration from historical and contemporary forms of body armor, including bibs, utility wear, aprons, and tactical vests. The inclusion of titanium "wound" inserts, informed by slow-motion projectile testing and forensic imagery of high-caliber bullet wounds, transforms stark evidence of bodily trauma into sophisticated objects of adornment, while critically exploring notions of manufactured protection and a false sense of security.
London, UK-based gallery Objects Beautiful, directed by Yael Reisner, showcases a porcelain ear stud by renowned European art jeweler Gitte Nygaard. Crafted from silver, bronze, sponge, and porcelain in variable dimensions with photography by the artist, the piece is available for £270 GBP without tax. Nygaard’s porcelain ear stud explores porosity as both a physical form and a deeper meaning—representing something permeable and changeable that acts as an imprint of relations in constant transformation. Inner structures surface sensuously, shaped directly by the individual materials’ capacities to absorb, resist, and release. Porosity functions simultaneously as a method of making and a way of thinking, offering a cautious hope that contemporary jewelry can echo the fragile, ongoing construction of the world itself.
In Chicago, Illinois, Pistachios Contemporary Art Jewelry—with marketing contact Meg Nash—features a striking ring by artist Sowon Joo. Priced at US$16,795, the ring is available in size 6.25 and is meticulously crafted from solid 18-karat gold that has been intricately crocheted by the artist before being adorned throughout with diamonds, with photography provided by Pistachios. Joo’s artistic practice centers deeply on the universal rites of passage experienced by all living creatures—birth, death, and the complex growth and development that occurs between them. She utilizes elements of the natural world to describe these pivotal human and biological moments through metaphor.
Galeria Reverso in Lisbon, Portugal, represented by Paula Crespo, highlights the work of artist Gésine Hackenberg. The featured piece, Precious Fluids #1, is a 2012 brooch created from silver-plated glass and red brass, photographed by the artist and retailed at 940€. These kitchen glass brooches form part of Hackenberg’s broader Still-lives Collection. Describing the series, Hackenberg notes that the works can be viewed as a contemporary interpretation of 17th- and 18th-century Dutch still-life paintings, which traditionally depicted everyday items holding economic and emotional significance for people of that era. By cutting vintage glassware and rearranging the fragments into new compositions, the artist translates three-dimensional objects into two-dimensional shapes and down-to-earth glasses and bowls into precious jewelry, allowing the wearer’s body to function as a living canvas while paying homage to the history of European glass manufacture in the Netherlands, Germany, and Scandinavia.
At the Wearable Art Museum, director Lisa M. Berman presents work by Marty Ornish from the On the Fringe collection. Titled Fringe Benefits, the 2026 collar is constructed from a historical 100-year-old cotton quilt, batting, letterpress ink, and fringe, measuring 24 x 20 x 22 inches with photography by Steve Ornish. Priced at US$1,200, the piece reflects the artist’s guiding mantras: zero waste, loved to death, and nothing is new. MartyO is an established artist known for politically charged, thought-provoking museum exhibitions that utilize fabric as raw material and meaning as conceptual substance, such as her 2021 Social Security exhibition at the Oceanside Museum of Art. Ornish transforms waste materials into wearable sculpture, with the On the Fringe collar series appearing as part of the California Fibers The Languages of Fiber exhibition at the Huntington Beach Art Center through October 24, 2026.
Fingers Gallery in Auckland, New Zealand, represented by Lisa Higgins, features the work of artist Aaron Brown. Titled Huia, this 2025 ring is crafted from 9-karat yellow gold in size R, with photography by Michael Couper and a retail price of NZ$2,370. Raised in a creative, entrepreneurial household, Brown embraced the foundational belief that "you can do anything," nurturing a fearless curiosity that propels his evolving craft. Whether creating a delicate gold Huia ring or a bold bronze sculpture, Brown carries this spirit of exploration forward, celebrating the natural essence of Aotearoa through wearable art. Balancing cultural resonance with refined craftsmanship, Brown’s portfolio includes distinctive Kowhai and fantail designs. Describing his approach, the artist notes his love for the challenge of representational carving and capturing a small slice of a subject’s personality.
In Baltimore, Maryland, the Baltimore Jewelry Center—with contact J Diamond—showcases Best Bud, a 2022 single earring by artist Cindy Cheng. Crafted from sterling silver and measuring 1 1/2 x 3/4 x 1/2 inches with photography by J Diamond, the piece is retailed at US$150. Cheng is a jeweler and sculptor based in Baltimore who previously taught in the Drawing and General Fine Arts departments at the Maryland Institute College of Art (MICA). Having completed residencies at the Joan Mitchell Center NOLA, Anderson Ranch, Arrowmont School of Art’s Pentaculum, and serving as an artist-in-residence at the Baltimore Jewelry Center in the fall of 2025, Cheng maintains a continuous drive to acquire new skills and expand her artistic practice.
Galerie Noel Guyomarc’h, bijoux et objets contemporains in Montreal, Canada, represented by Noel Guyomarc’h, features a brooch by Carina Shoshtary. Titled Suspended Gravity and created in 2026, the brooch incorporates snail shells, hinoki splints gifted by Japanese mask maker Hideta Kitazawa, Japanese anemone seeds, PLA, silver, stainless steel, and lacquer. Measuring 7 1/2 x 4 3/4 x 2 inches with photography by the artist, the piece is available for 3,000€. Shoshtary incorporates these delicate natural elements into her new series, Forms of Holding, wrapping and binding them using a 3D pen to function as a novel form of protection.
In Stockholm, Sweden, Platina gallery, directed by Sofia Björkman, presents work by artist Ameli Dévé. Titled Braid and created in 2024, the brooch is crafted from oxidized silver and measures 7 7/8 x 3/4 x 3/8 inches, with photography by Sofia Björkman and a retail price of US$550. Dévé frequently draws upon universal symbolism and familiar everyday forms, utilizing pure fine silver whose natural softness allows her to shape the metal into structures that would otherwise be difficult to achieve. By pushing the material to its absolute limits, the resulting works allude to traditional craftsmanship while simultaneously challenging its boundaries and re-examining classic structures. Dévé, based in Gothenburg and originally from northern Sweden, completed a three-year apprenticeship in Tibet crafting traditional Tibetan jewelry before pursuing further studies in Sweden, New Zealand, and France, ultimately earning an MFA in jewelry art from the Academy of Design and Crafts in Sweden.
Concluding the September showcase, Gravers Lane Gallery in Philadelphia, Pennsylvania, represented by Mia Chen, features Teresa Shields’s Green Pod Necklace. Created in 2021 from felted wool, wool roving, and a hidden magnetic clasp, the necklace measures 6 x 25 1/2 x 1 inches with photography courtesy of the artist, and is listed at a retail price of US$5,800. The pods draw inspiration from maple seeds without serving as literal replicas; Shields seeks the underlying essence rather than a direct specimen. Viewed from a distance, the components read as a repeating mass of seemingly identical organic shapes fanned into a graceful collar, while close inspection reveals that no two are identical, each possessing distinct shape and coloration achieved through handmade construction rather than nature. Shields learned the felting process during a 2016 intensive at Penland and has since reverse-engineered her visions through the medium, calculating how wool shrinks to construct forms backward toward her desired outcome. Hidden magnetic clasps allow the piece to be fastened around the neck with ease.
