Right now, art enthusiasts and collectors everywhere could certainly use a moment of joy, a small indulgence, or a meaningful treat. There is a distinct, resonant pleasure in acquiring a terrific piece of contemporary art jewelry for oneself, an act that simultaneously celebrates and directly supports the visionary artists who create these wearable sculptures and the dedicated international galleries that exhibit them.
The Art Jewelry Forum’s international gallery supporters continuously champion the dynamic world of art jewelry through ambitious exhibitions and curated programs. The organization’s bi-monthly On Offer series serves as a vital bridge, allowing an extensive network of international galleries to showcase extraordinary pieces personally selected to tempt, challenge, and inspire collectors. A glance through this latest edition reveals a diverse landscape of exceptional craftsmanship, where a fantastic piece that a collector simply cannot live without is always just a horizon away. For those interested in acquiring any of these works, direct inquiries can be made to the respective galleries.
Among the standout pieces featured in this October showcase is a work by Melanie Denis, presented by the Heidi Lowe Gallery located in Lewes, Delaware, United States. Titled Vierge Reliquary for an Impossible Mother II, this 2026 brooch was specifically fabricated for the ReJewelry exhibition hosted by the gallery as part of the Radical Jewelry Makeover initiative. Priced at US$350, the intricate brooch brings together a striking array of materials, including sterling silver, steel, brass, plastic, Plexiglas, photography, ink, silk, a recycled fantasy jewel, and a physical relic, measuring 180 by 80 by 20 millimeters.
Traveling across the Atlantic to Lisbon, Portugal, Galeria Tereza Seabra presents the work of artist Catarina Silva. Featured in Silva’s recent solo exhibition, Jardin d’agrément, which forms part of the third Lisbon Jewellery Biennial program, an untitled pendant in oxidized silver, coralline, and agate—measuring 50 by 35 by 8 millimeters with a 250-millimeter chain—is available for 650 euros plus shipping. Jardin d’agrément imagines a lush, utopian garden inspired by paradise gardens and mythological sacred spaces found across various cultures. In this envisioned space, humans, animals, and plants coexist beyond hierarchy within a shared ecology of reciprocity and wonder. Jewelry functions here as a living constellation of symbols: apples, unicorns, flowers, birds, and Marian imagery evoke knowledge, care, fertility, and transformation. At the heart of the exhibition, the snake emerges not as a tempter, but as a guardian—a symbol of wisdom, regeneration, and the continuous cycle of life. Rather than signaling a lost Eden, the exhibition serves as a poetic fiction inviting viewers to imagine new ways of inhabiting the world where coexistence is a living practice rather than a distant ideal.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works features the work of artist Kerianne Quick. The brooch A Denial, priced at US$550, is crafted from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, measuring 5 inches by 3 ¼ inches by ¾ inches. Quick’s academic and creative research is deeply rooted in craft practice as a cultural expression, paying particular attention to "material specificity"—a term defined in the artist’s master’s thesis to recognize materials as active participants in the creation of meaning. Through creative practice, Quick seeks to uncover overlooked and hidden stories through object-making, drawing upon the embedded histories of materials to coalesce meaning and make an impact. The black-shrouded "mirrors" from the Nevermind series are made of leather and Plexiglas, referencing the mourning tradition of covering mirrors after a death. Rather than protecting the spirit of the deceased from its reflection, these obscured mirrors turn the gaze back on the living, materializing shame, culpability, despair, and helplessness.
Looking to northern Europe, Four Gallery in Umeå, Sweden, presents Brooch 534.24 l by artist Karin Seufert. Priced at 700 euros excluding VAT, the 2026 brooch is constructed from PVC, silver, and steel, measuring 69 by 56 by 24 millimeters. Much like emptiness, time is a notoriously difficult concept to depict visually; it is complex, ever-changing, and fundamentally immaterial. The sky often serves as a practical tool for orienting oneself within time, with the sun defining the days, the moon marking longer phases, and the stars enabling spatial navigation. Seufert’s latest works seek to portray these very celestial bodies, capturing the sun as a flickering yellow circle, the moon in its shifting phases, and the stars in multifaceted, tangible forms.
In London, United Kingdom, Objects Beautiful gallery showcases the work of Taiwanese artist Mei Fang Chiang. The Other Shore #17, a 2022 brooch crafted from aluminum and stainless steel wire and measuring 80 by 65 by 28 millimeters, is available for £760 before tax. Based in Tainan, Taiwan, Chiang is an acclaimed art jeweler whose expertise lies in working uniquely with anodized aluminum, utilizing specialized techniques developed in her studio that allow for an extraordinary and vibrant use of color. Her work engages deeply with narratives centered on the coexistence of nature and the man-made. As an awarded artist whose pieces reside in prominent public collections, including the Gold Museum in Taiwan, Chiang creates jewelry that is original, visually striking, extremely light, and remarkably comfortable to wear.
Gravers Lane Gallery in Philadelphia, Pennsylvania, highlights the work of Naomi Kurita with a 26-inch sterling silver link necklace priced at US$3,080. A simple chain leaves nowhere to hide, as every single link matters—from its proportion and join to the way it moves and rests against the next. This quiet precision is the domain where Kurita has spent her entire career. Alongside her own distinctive line of jewelry, Kurita frequently redesigns pieces around her clients’ personal precious stones, giving long-held or inherited gems a renewed form. This service stems from the same core conviction that has guided her work for three decades: that jewelry should remain natural, simple, and crafted to be worn for a lifetime.
Representing the Wearable Art Museum, a necklace titled Offering a Gem, created by Colombian artist Andrea Ortiz in 2001, is offered at US$1,200. Hailing from the Linking Realm series developed as a graduate thesis at the Savannah College of Art and Design, the piece utilizes coffee beans, bronze, and brass to highlight the difficult conditions, human rights concerns, and labor struggles faced by coffee bean workers in Ortiz’s native country. Gallery director Lisa M. Berman curated this necklace to be featured alongside Max Alexander’s notable Coffee Bean dress for the New York Times in 2024. Ortiz has earned an impressive four International Design Awards since her graduation, and the gallery owner has committed to offering the piece for loan requests for upcoming museum and institutional exhibitions.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, features the brooch And I Dreamed That I Would Be Happy by Mexican jeweler, enameler, and researcher Esteban Erosky, who is currently based in Madrid, Spain. Priced at US$1,495, the approximately 3 ¾ by 1 ½-inch brooch is fabricated from hand-painted enamel on copper, glass beads, nickel silver, and steel wire. Having studied across multiple countries, Erosky specializes in classic enameling techniques, adapting them expertly to contemporary themes that address social, human, and gender issues while fiercely advocating for individual freedom. Despite their often painful underlying themes, his pieces function as short narratives told through a consistently playful visual language.
In Adelaide, Australia, Zu design presents a 2026 ring by Angela Giuliani titled Sapphire and Diamond. Fabricated from sapphires, a cognac diamond, 9-karat yellow gold, and sterling silver, the ring is sized at finger size N, with a top measuring 16 by 23 millimeters and standing 32 millimeters from base to top, carrying a retail price of AUS$7,300. The work forms part of stateMEANT, an exhibition for which Zu design asked participating artists to write personal statements about their work, practices, and processes. The exhibition brings together bold, thoughtful works that carry a distinct message, whether touching upon social, political, and environmental spaces or speaking more quietly about materials, process, sustainability, art, craft, and the realities of daily life. Giuliani’s artist statement notes that her work explores structure, form, and geometry through precious metals and gemstones, driven by an attraction to clean lines, simple shapes, and the balance inherent in geometric design. The making process remains just as vital as the finished object, allowing each design to evolve through careful craftsmanship while utilizing gemstones to add meaningful color and integrated interest rather than mere decoration.
Galerie Door in Nijmegen, Netherlands, exhibits an untitled 2025 necklace by Daniel Kruger, priced at 4,200 euros. Measuring 94 by 94 by 18 millimeters, the piece is constructed from glass vials containing Hindu ritual pigments, pearls, glass flowers, and silver. Kruger’s approach combines disparate elements—such as a shell, a gemstone, a piece of plastic, a relic, and a fetish—into a cohesive, surprising, exuberant, and seductive piece of jewelry. By merging 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. The resulting jewelry acts as an ornament, a talisman, a statement, or simply an irresistible object designed to bring lasting joy to the wearer.
Fingers Gallery in Auckland, New Zealand, features A Night Out, a 2026 brooch by Dunedin-based contemporary jeweler Jane Dodd. Priced at NZ$1,750 and measuring 73 by 33 by 22 millimeters, the brooch is meticulously fabricated from ebony, bone, sterling silver, marcasite, and spessartite garnet, displaying the exceptional technical craftsmanship for which Dodd is widely celebrated. In recent years, her practice has focused heavily on the portrayal of animals, exploring subtexts of human impact, interaction, extinction, infestation, cruelty, and conflict. Strongly influenced by historic European craft traditions while remaining acutely mindful of the ecological plunder that enabled such historical work, Dodd channels these complex, contradictory emotions into powerful works defined by tension, humor, and intrigue.
The Baltimore Jewelry Center in Baltimore, Maryland, highlights the Circle Fern Hoops by metalsmith, sculptor, and jeweler April Wood. Priced at US$160 and measuring 1 ½ by 2 ½ by ⅛ inches, the steel and sterling silver earrings reflect Wood’s extensive background in studio art and her role as a co-founder of the Baltimore Jewelry Center, where she currently teaches. Having instructed at institutions including the Maryland Institute College of Art, the Corcoran College of Art and Design, and the Penland School of Crafts, Wood maintains an active national and international exhibition record, including a 2012 solo exhibition at the Austin Museum of Art and an appearance at the SIERAAD International Art Jewelry Fair in Amsterdam.
Galeria Reverso in Lisbon, Portugal, presents an untitled 2026 brooch by Manuel Vilhena, priced at 2,730 euros. Fabricated from juniper, tourmaline, 18-karat gold, steel, and cotton, the piece measures 150 by 120 by 30 millimeters. Reflecting on the thematic underpinnings of the work, Vilhena notes that among all the dichotomies humans must navigate, the precarious dance between life and death is perhaps the most evident, explored here through the lens of a notorious gang of pirates who daily defy mortality and live alongside death as a trusted partner.
Finally, Thereza Pedrosa Gallery features an untitled 2025 brooch by Ela Bauer, priced at 1,340 euros. Constructed from resin, pigments, organic materials, and an aluminum pin with a diameter of 125 millimeters, the brooch captures a pivotal turning point in Bauer’s artistic practice, marking a definitive shift from the powerful two-dimensional works for which she is widely recognized toward an ambitious new three-dimensional sculptural language. Rather than simply extending her previous vocabulary, the piece opens an entirely new field of spatial and material exploration. This significant artistic development received international acclaim when Bauer was awarded the prestigious Herbert Hofmann Prize at Schmuck 2026, solidifying the importance of this new trajectory within her ongoing creative research.
