Right now, art enthusiasts and collectors everywhere could certainly use a moment of inspiration and a tangible treat. Finding a terrific piece of art jewelry for oneself while simultaneously celebrating and supporting visionary independent artists and the international galleries that champion their work offers a dual sense of fulfillment. Art Jewelry Forum’s extensive network of international gallery supporters consistently pushes the boundaries of how we perceive, wear, and interact with contemporary ornamentation. Through its ongoing bi-monthly "On Offer" series, this global network of galleries showcases an extraordinary selection of pieces personally chosen to tempt, provoke, and inspire collectors worldwide.
As the October 2026 edition demonstrates, exploring these curated offerings invariably reveals a fantastic piece that commands attention and admiration. From the structural precision of precious metals to unconventional materials like vegetable-tanned leather, PVC, and recycled components, this month’s selection spans the globe, highlighting the incredible diversity within contemporary art jewelry.
Kicking off the international showcase, Pistachios Contemporary Art Jewelry in Chicago, Illinois, presents a striking brooch and necklace combination by artist Heather Guidero. Priced at US$1,695 and photographed by Pistachios, the piece centers on a stunning lilac-colored druzy that sparkles with rare intensity. Complemented by handmade oxidized sterling silver tassels, this one-of-a-kind creation possesses a remarkable degree of physical movement. Because the design includes an integrated bail, the versatile piece transitions seamlessly from a sculptural brooch to an elegant pendant, measuring approximately 18 inches long with a pendant and brooch portion of about 3 and three-quarters by three-quarters of an inch.
Moving to the Wearable Art Museum, director Lisa M. Berman highlights the work of artist duo 2Roses with their 2026 brooch titled Perch. Priced at US$750 and photographed by Corliss Rose, Perch measures 4 by 4 by 1 and a half inches (102 by 102 by 38 mm) and is crafted from polymer clay and stainless steel. The artists specialize in small, one-of-a-kind sculptures built to be worn anywhere on the body. Perch pairs two hollow forms covered in meticulously cut and finished polymer clay tesserae, creating a surface that shimmers dynamically with the wearer’s movement. One form appears dark and closed, while the other is pale and open, tipped against the first in a state of permanent tension and balance. The wearer actively completes the composition by deciding the placement and angle on the body, transforming every positioning into a deliberate recomposition of the work.
In Auckland, New Zealand, Fingers Gallery features the work of Becky Bliss, a contemporary art jeweler who originally trained as a graphic designer. Her work resides in numerous prestigious collections, and she was selected to exhibit in the prestigious Schmuck special exhibition in Munich in both 2015 and 2020. Represented here by a series of pendants titled Play Time (2024), created from mild steel, sterling silver, paint, and cord and priced at NZ$750 each (with dimensions ranging approximately from 93 x 52 mm to 103 x 48 mm in a photograph by Michael Couper), Bliss explores color, form, and gender. The series subverts traditional expectations through endless combinations, demonstrating the fluidity of youth and the boundaryless expression of play. By anthropomorphizing the building blocks of child development—formalized as "gifts" by kindergarten system founder Friedrich Froebel in the early 1800s—these works engage directly with the fundamental shapes of gift number two: circles, squares, and triangles.
Over in Nijmegen, Netherlands, Galerie Door presents an untitled 2026 copper and cornelian brooch by renowned artist Daniel Kruger, available for 2,000 euros and photographed courtesy of the artist. Kruger’s practice investigates the common threads uniting diverse materials like shells, gemstones, plastic, relics, and fetishes, merging them into cohesive statements of art jewelry. His work is characterized by a surprising, exuberant, mischievous, and seductive quality that invites viewers to linger and look closer. By combining gemstones with everyday objects, and traditional textile work with refined metalwork, Kruger bridges the sublime and the mundane, the precious and the cheap, the classical and the kitsch. His jewelry draws the eye purposefully to the neck, chest, hand, or ear, functioning variously as an ornament, talisman, political statement, or an irresistible object of pure joy.
In Adelaide, Australia, Zu design participates with a piece by Angela Giuliani titled Parti Sapphire (2026), priced at AUS$8,615. Photographed by Jane Bowden, the ring is crafted from parti sapphires, 9-karat gold, and sterling silver, featuring a finger size M with a top measuring 19 by 23 mm and standing 30 mm from the base of the band to the top. This work forms part of stateMEANT, a contemporary jewelry exhibition where Zu design asked participating artists to write personal statements about their practice and processes. Giuliani’s work explores structure, form, and geometry through precious metals and gemstones. Drawn to clean lines, simple shapes, and the balance of geometric design, Giuliani views the making process as equally important as the finished object, utilizing sterling silver, yellow gold, and rose gold alongside thoughtfully integrated colored gemstones to create timeless, durable jewelry that connects deeply with its wearer.
Four Gallery in Umeå, Sweden, showcases the latest work of Karin Seufert, specifically Necklace 539 (2026), created from PVC and thread and measuring 280 by 125 by 12 mm. Photographed by Karin Seufert and Four Gallery, and priced at 1,700 euros (excluding VAT), the piece addresses the complex, ever-changing, and immaterial nature of time. Using the sky as a primary tool for orientation, Seufert’s latest creations portray celestial bodies, translating the sun into a flickering yellow circle, the moon into its shifting phases, and the stars into multifaceted, wearable forms.
Philadelphia’s Gravers Lane Gallery presents a 2025 yellow gold and silver necklace by Naomi Kurita, priced at US$4,752 and photographed by Rachael Forbes. Measuring 15 inches long and crafted from 18-karat yellow gold and sterling silver, the necklace embodies Kurita’s guiding philosophy of natural, simple, and wearable design cultivated over a 30-year career. Born in Japan, Kurita studied at a college in Denver, specialized in jewelry and metalwork at the Rhode Island School of Design, and honed her craft alongside artisans in New York. The resulting piece sets the contrasting warmth of 18-karat yellow gold against sterling silver in a compact length that rests closely at the base of the neck, reflecting an aesthetic shaped by both traditional and modern sensibilities.
In Baltimore, Maryland, the Baltimore Jewelry Center highlights the work of Liz Clark with her Petite Wreath Studs (2023). Priced at US$175 and photographed by J Diamond, these sterling silver earrings each measure 1 by 1 by half an inch. Clark earned her BFA in crafts and material studies from Virginia Commonwealth University in 2006 and maintains a part-time metal studio in Providence, Rhode Island, regularly exhibiting her work in galleries nationwide.
London’s Objects Beautiful gallery features Mei Fang Chiang’s 2022 brooch, The Other Shore #2, crafted from aluminum and stainless steel wire and measuring 100 by 95 by 25 mm. Priced at 760 British pounds (without tax) and photographed by the artist, the piece highlights Chiang’s specialized expertise in working with anodized aluminum. Based in Tainan, Taiwan, Chiang has developed proprietary studio techniques that allow her to utilize color with unique brilliance. Her award-winning work, which is held in public collections including Taiwan’s Gold Museum, engages with narratives centered on the coexistence of nature and the man-made, resulting in jewelry that is original, visually striking, exceptionally light, and remarkably comfortable to wear.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works presents a 2026 brooch by Kerianne Quick titled Well, It’s Not Up to Us, priced at US$650. Photographed by the artist, the piece measures 3 and a half by 8 and a quarter by 1 and a quarter inches and is constructed from vegetable-tanned leather, Plexiglas, and a nickel alloy pin. Quick’s research is deeply rooted in craft practice as cultural expression, focusing on material specificity—a concept defining materials as active participants in meaning-making. This work draws from the Nevermind series, which utilizes black-shrouded "mirrors" made of leather and Plexiglas to reference historical mourning traditions of covering mirrors after death. Rather than protecting a spirit, these obscured objects turn the gaze back toward the living, materializing complex emotions such as shame, culpability, despair, and helplessness.
Galeria Tereza Seabra in Lisbon, Portugal, showcases Sugar Rush (2026) by Catarina Silva, priced at 1,500 euros plus shipping and photographed by Pedro Tropa. Measuring 300 by 100 by 10 mm, the necklace is fabricated from painted tin, leather, glass seed beads, glass flowers, embroidery, zinc, silver, and pearls. Created for Silva’s solo exhibition Jardin d’agrément as part of the third Lisbon Jewellery Biennial, the collection imagines a lush, utopian garden inspired by cross-cultural paradisiacal landscapes. In this realm, humans, animals, and plants coexist in an egalitarian ecology of reciprocity, utilizing symbols like apples, unicorns, flowers, birds, and the snake as a guardian of wisdom and regeneration to propose new ways of inhabiting the world.
Heidi Lowe Gallery in Lewes, Delaware, features Emily Cobb’s Floppy Flower (2026), priced at US$1,480 and photographed by Madison Hoffman and Auriele Gould. Measuring 30 by 8 by 1 and a half inches, the piece is fabricated from gold-plated brass ear nuts, surgical steel ear nuts, assorted deadstock stud earrings, brass jump rings, and a silver-filled jump ring. The work was specifically created for the 2026 ReJewelry exhibition hosted by Radical Jewelry Makeover at Heidi Lowe Gallery.
Rounding out the international presentation, Galeria Reverso in Lisbon, Portugal, features an untitled 2026 necklace by Manuel Vilhena, priced at 2,220 euros and photographed by Eduardo Ribeiro. Measuring 200 by 200 by 30 mm, the piece is crafted from juniper, ebony, fine silver, cotton, coral, and steel. Describing the work, Vilhena notes that it addresses the precarious, daily dance between life and death through the lens of maritime outlaws who live alongside mortality as an everyday partner.
