For contemporary art lovers and collectors seeking a meaningful antidote to the everyday, the Art Jewelry Forum (AJF) has launched the first installment of its October 2026 On Offer series. Designed to celebrate and support both independent artists and the international galleries that champion them, the bi-monthly showcase connects discerning buyers with extraordinary, hand-selected pieces from across the globe. Ranging from conceptual sculptures worn on the body to exquisite minimalist neckpieces and avant-garde brooches, this edition underscores the remarkable diversity and vitality of the contemporary art jewelry field.
Kicking off the October showcase is Pistachios Contemporary Art Jewelry in Chicago, Illinois, which presents a striking brooch and necklace combination by artist Heather Guidero. Priced at US$1,695, the piece features a vibrant lilac-colored druzy stone that commands attention with its natural sparkle. Handcrafted oxidized sterling silver tassels add a dynamic sense of movement to the design, while an integrated bail allows the versatile creation to transition seamlessly from a statement brooch to an elegant pendant. According to gallery contact Meg Nash, the piece exemplifies Guidero’s keen eye for texture and balance.
Moving from the American Midwest to Southern California, the Wearable Art Museum presents Perch, a 2026 brooch by the artistic duo 2Roses. Priced at US$750 and captured in stunning detail by photographer Corliss Rose, the work is conceived as a small, wearable sculpture. Constructed from polymer clay and stainless steel, measuring 4 x 4 x 1.5 inches, Perch pairs two hollow forms covered in meticulously cut and finished polymer clay tesserae. One form is dark and closed, while the other is pale, open, and tipped against its counterpart in a permanent state of tension and balance. Gallery director Lisa M. Berman notes that the wearer ultimately completes the artistic composition by deciding where and at what angle the piece is positioned, ensuring that every placement fundamentally recomposes the work.
In Auckland, New Zealand, Fingers Gallery features the work of Becky Bliss, a former graphic designer who transitioned into a celebrated contemporary art jeweler. Bliss, whose distinguished career includes selections for the prestigious Schmuck exhibition in Munich in 2015 and 2020, offers a series of three pendants titled Play Time (2024). Crafted from mild steel, sterling silver, paint, and cord, each pendant is individually priced at NZ$750. Speaking to the conceptual roots of the work, Bliss explains that Play Time explores color, form, and gender, subverting traditional expectations through endless combinations that reflect the fluidity of youth and the boundaryless expression of play. The pendants anthropomorphize the foundational building blocks of child development—circles, squares, and triangles—formalized by Friedrich Froebel, the nineteenth-century founder of the kindergarten system, through his pioneering educational "gifts."
Europe’s vibrant contemporary scene is strongly represented in the current lineup through Galerie Door in Nijmegen, Netherlands, which showcases a 2026 untitled brooch by renowned artist Daniel Kruger. Priced at €2,000, the piece asks a provocative question: What do a shell, a gemstone, a piece of plastic, a relic, and a fetish have in common? In Kruger’s skilled hands, these disparate elements merge into a single, seductive piece of art jewelry. Known for combining contrasting materials and techniques—ranging from precious gemstones and everyday objects to traditional textile work and refined metalwork—Kruger bridges the sublime and the mundane, the precious and the cheap, the classical and the kitsch. Gallery gallerist Doreen Timmers emphasizes that Kruger’s work draws the eye and functions variously as an ornament, a talisman, a statement, or an irresistible object designed to bring joy.
Down Under, Zu design in Adelaide, Australia, presents a remarkable ring by Angela Giuliani titled Parti Sapphire (2026). Priced at AUS$8,615, the piece is part of the gallery’s stateMEANT exhibition, an initiative inviting artists to write detailed statements about their work, practice, and underlying processes. Giuliani’s ring—crafted from parti sapphires, 9-karat gold, and sterling silver—measures 19 x 23 mm at the top and stands 30 mm from the base of the band. Explaining her creative philosophy, Giuliani states that her work explores structure, form, and geometry through precious metals and gemstones. Drawn to clean lines and balanced geometric designs, she views the making process as equally important as the finished object, utilizing colored gemstones not merely as decoration, but as an integral component of a timeless, thoughtful design meant to forge a lasting connection with the wearer.
Meanwhile, Four Gallery in Umeå, Sweden, introduces Necklace 539 (2026) by artist Karin Seufert. Priced at €1,700 (excluding VAT) and photographed by the artist alongside Four Gallery, the piece is constructed from PVC and thread, measuring 280 x 125 x 12 mm. Seufert’s latest body of work tackles the immaterial and complex nature of time by looking to the sky as a navigational tool. Translating celestial bodies into wearable art, Seufert represents the sun as a flickering yellow circle, the moon through its shifting phases, and the stars in multifaceted forms, offering a poetic meditation on how humans orient themselves within the universe.
In the United States, Gravers Lane Gallery in Philadelphia, Pennsylvania, highlights an 18-karat yellow gold and sterling silver necklace by Naomi Kurita. Priced at US$4,752, the 15-inch piece sits closely at the base of the neck, contrasting the different warm tones of the two precious metals. Kurita, who was born in Japan and studied at the Rhode Island School of Design before refining her craft in New York, has spent three decades guided by three simple principles: natural, simple, and wearable. Gallery contact Mia Chen notes that Kurita’s restrained, timeless creations have earned her exhibition spaces in prominent museums, galleries, and high-end stores across both the United States and Japan.
Representing the Baltimore Jewelry Center in Maryland, artist Liz Clark presents Petite Wreath Studs (2023), a pair of sterling silver earrings priced at US$1,700—wait, corrected to US$175. Measuring 1 x 1 x 0.5 inches each, the studs reflect Clark’s formal training in crafts and material studies at Virginia Commonwealth University, from which she received her BFA in 2006. Working from her metal studio in Providence, Rhode Island, Clark maintains a dedicated part-time art practice, regularly exhibiting her understated works through galleries across the country.
In London, Objects Beautiful showcases The Other Shore #2 (2022), a brooch by Taiwanese artist Mei Fang Chiang. Based in Tainan, Chiang is internationally recognized for her mastery of anodized aluminum, utilizing proprietary studio techniques to achieve extraordinary coloration. Priced at £760 (excluding tax) and featured in public collections such as Taiwan’s Gold Museum, Chiang’s work explores narratives centered on the coexistence of nature and the man-made. The resulting brooch is not only visually striking and original, but also remarkably light and comfortable for the wearer.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works features a powerful brooch by Kerianne Quick titled Well, It’s Not Up to Us (2026). Priced at US$650 and constructed from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, the piece measures 3.5 x 8.25 x 1.25 inches. Quick’s research is deeply rooted in craft practice as a cultural expression, focusing on "material specificity"—a term defined in their master’s thesis to describe how materials actively participate in meaning-making. The brooch belongs to the Nevermind series of black-shrouded "mirrors," which reference the historical mourning tradition of covering mirrors after a death. Rather than protecting a spirit, these obscured objects turn the viewer’s gaze inward, materializing complex emotions such as shame, culpability, despair, and helplessness.
Galeria Tereza Seabra in Lisbon, Portugal, presents Sugar Rush (2026), a necklace by Catarina Silva created for her solo exhibition Jardin d’agrément as part of the third Lisbon Jewellery Biennial. Priced at €1,500 plus shipping, the necklace is fabricated from painted tin, leather, glass seed beads, glass flowers, embroidery, zinc, silver, and pearls. The exhibition itself reimagines a lush, utopian garden inspired by cross-cultural paradisiacal myths, where humans, plants, and animals coexist in a shared ecology. Symbols such as apples, unicorns, flowers, and birds evoke fertility and transformation, while the central figure of the snake is reframed not as a tempter, but as a guardian of wisdom and regeneration.
In Lewes, Delaware, the Heidi Lowe Gallery highlights Floppy Flower (2026) by Emily Cobb, created for the gallery’s ReJewelry exhibition hosted in collaboration with Radical Jewelry Makeover. Priced at US$1,480, the substantial piece measuring 30 x 8 x 1.5 inches is fabricated entirely from reclaimed materials, including gold-plated and surgical steel ear nuts, assorted deadstock stud earrings, brass jump rings, and silver-filled jump rings.
Concluding this edition of the On Offer series, Galeria Reverso in Lisbon, Portugal, features an untitled 2026 necklace by Manuel Vilhena. Priced at €2,220 and photographed by Eduardo Ribeiro, the piece measures 200 x 200 x 30 mm and is crafted from juniper, ebony, fine silver, cotton, coral, and steel. Reflecting on the thematic underpinnings of the work, Vilhena notes that it addresses the fundamental dichotomy of the precarious dance between life and death, channeling the spirit of notorious pirates who daily defy mortality and live alongside it as an equal partner.
Interested buyers are encouraged to contact the respective galleries directly for purchasing inquiries and further details regarding availability.
