Right now, art enthusiasts and collectors alike could certainly use a creative treat. There is a profound sense of satisfaction in acquiring a terrific piece of art jewelry for oneself while simultaneously celebrating and actively supporting the visionary artists and the dedicated galleries that showcase their work. Art Jewelry Forum’s international gallery supporters continuously champion, exhibit, and promote contemporary art jewelry to a global audience. The organization’s bi-monthly On Offer series provides this extensive network of international galleries with a dedicated platform to showcase extraordinary pieces, each personally selected to tempt, provoke, and inspire collectors.
Taking a look at the latest October 2026 selection reveals a diverse array of conceptual, material-driven, and meticulously crafted works. Enthusiasts are bound to find a fantastic piece they simply cannot live without, with all inquiries handled directly through the respective exhibiting galleries.
Among the featured pieces in this edition is Melanie Denis’s Vierge Reliquary for an Impossible Mother II, presented by the Heidi Lowe Gallery located in Lewes, Delaware, in the United States. Priced at US$350, this intricate brooch was specifically created by Denis for the 2026 ReJewelry exhibition, an initiative hosted by the gallery through the Radical Jewelry Makeover project. Fabricated from an eclectic and unconventional mix of materials including sterling silver, steel, brass, plastic, Plexiglas, photography, ink, silk, a recycled fantasy jewel, and a physical relic, the brooch measures 180 by 80 by 20 millimeters. It reflects a deep engagement with materiality and storytelling, characteristic of the broader exhibition’s mission to reimagine existing resources.
Traveling across the Atlantic to Lisbon, Portugal, Galeria Tereza Seabra presents a striking pendant by artist Catarina Silva. Priced at 650 euros plus shipping, the untitled 2026 pendant is crafted from oxidized silver, coralline, and agate, measuring 50 by 35 by 8 millimeters with a 250-millimeter-long chain. This work forms part of Silva’s most recent solo exhibition, Jardin d’agrément, which is featured as part of the official program for the third Lisbon Jewellery Biennial. The exhibition conceptualizes a lush, utopian landscape inspired by paradise gardens and mythological gardens of the gods found across various cultures. In this envisioned space, humans, animals, and plants coexist beyond traditional hierarchies within a shared ecology of reciprocity and wonder. Jewelry functions here as a living constellation of symbols—incorporating motifs like apples, unicorns, flowers, birds, and Marian imagery to evoke knowledge, care, fertility, and transformation. Notably, the snake appears not as a traditional tempter, but as a guardian of wisdom, regeneration, and the continuous cycle of life. Rather than lamenting a lost Eden, Silva’s poetic fiction invites viewers to imagine new ways of inhabiting the world where coexistence is practiced as a daily reality.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works features the work of artist Kerianne Quick. The brooch, titled A Denial, is priced at US$550 and is constructed from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, measuring five by three-and-a-quarter by three-quarters of inches. Quick’s academic and creative research is deeply rooted in craft practice as a cultural expression, with a particular emphasis on "material specificity"—a term defined in the artist’s master’s thesis to recognize raw materials as active participants in the generation of meaning. Through creative practice, Quick seeks to uncover overlooked and hidden narratives by leveraging the embedded histories of chosen mediums. The black-shrouded mirrors from the Nevermind series, to which this piece belongs, utilize leather and Plexiglas to reference historical mourning traditions of covering domestic mirrors following a death. Rather than protecting the spirit of the deceased from its own reflection, these obscured mirrors intentionally turn the gaze back toward the living, materializing complex emotions such as shame, culpability, despair, and helplessness.
Turning to Scandinavia, Four Gallery in Umeå, Sweden, presents Brooch 534.24 l by artist Karin Seufert, priced at 700 euros excluding value-added tax. Measuring 69 by 56 by 24 millimeters and fabricated from PVC, silver, and steel, the brooch addresses the elusive nature of time. Much like emptiness, time is inherently complex, ever-changing, and immaterial. Throughout human history, the sky has served as an essential tool for orienting oneself within this temporal flow, with the sun dictating days, the moon marking longer lunar phases, and the stars enabling spatial navigation. Seufert’s latest body of work portrays these celestial bodies directly, capturing the sun as a flickering yellow circle, the moon in its shifting phases, and the stars in multifaceted, constructed forms.
In London, United Kingdom, Objects Beautiful gallery showcases The Other Shore #17, a 2022 brooch by Taiwanese artist Mei Fang Chiang, priced at 760 British pounds excluding tax. Measuring 80 by 65 by 28 millimeters and crafted from aluminum and stainless steel wire, the piece exemplifies Chiang’s mastery of anodized aluminum. Based in Tainan, Taiwan, Chiang has developed proprietary studio techniques that allow her to utilize color in uniquely vibrant and luminous ways. Her overarching artistic narrative engages with the delicate coexistence between the natural world and human-made structures. As an acclaimed artist whose works reside in prominent public collections, including the Gold Museum in Taiwan, Chiang produces jewelry that is celebrated for being simultaneously original, visually striking, exceptionally lightweight, and remarkably comfortable to wear.
Back in the United States, Gravers Lane Gallery in Philadelphia, Pennsylvania, highlights the work of Naomi Kurita with a 26-inch layered sterling silver link necklace priced at US$3,080. A simple chain leaves nowhere for a metalsmith to hide, as every individual link demands rigorous attention regarding its proportion, its join, and the fluid way it moves and rests against the next. This quiet precision has defined Kurita’s three-decade career. Alongside her primary collections, Kurita frequently redesigns bespoke pieces around clients’ personal precious stones, breathing new life into long-held or inherited materials. This service stems from a foundational conviction that has guided her entire artistic path: jewelry should remain natural, elegantly simple, and purposefully crafted to be worn for a lifetime.
Exploring themes of social justice and human rights, the Wearable Art Museum presents Offering a Gem, a 2001 necklace created by Colombian artist Andrea Ortiz, priced at US$1,200. Fabricated from coffee beans, bronze, and brass with dimensions of 180 by 230 by 10 millimeters, the piece originated from the series Linking Realm, developed as part of Ortiz’s graduate thesis at the Savannah College of Art and Design. The work draws critical attention to the challenging conditions faced by coffee bean workers in Ortiz’s native Colombia, highlighting pressing issues surrounding human rights and fair labor standards. Gallery director Lisa M. Berman previously curated this necklace to be featured alongside Max Alexanders’s Coffee Bean dress for the New York Times in 2024. Ortiz has earned four prestigious International Design Awards since completing her graduate studies, and the museum’s owner maintains a commitment to making the piece available for institutional exhibition loan requests upon formal application.
In Chicago, Illinois, Pistachios Contemporary Art Jewelry features a hand-painted enamel brooch by Mexican researcher and enameler Esteban Erosky, currently based in Madrid, Spain. Titled And I Dreamed That I Would Be Happy, the brooch is priced at US$1,495 and measures approximately three-and-three-quarters by one-and-a-half inches, constructed from hand-painted enamel on copper, glass beads, nickel silver, and steel wire. Erosky has pursued specialized studies across multiple countries, focusing on classic enameling techniques while adapting them to address contemporary socio-political themes, human rights, gender issues, and the assertion of individual freedom. His works function essentially as visual short stories, employing a deliberately playful artistic language even when addressing deeply poignant or painful subjects.
In Adelaide, Australia, Zu design presents a sophisticated ring by Angela Giuliani, priced at AUS$7,300. The piece, titled Sapphire and Diamond, is crafted from sapphires, a cognac diamond, nine-karat yellow gold, and sterling silver. It features a finger size of N, a top surface dimension of 16 by 23 millimeters, and stands 32 millimeters from the base to the top. The work is included in stateMEANT, a contemporary jewelry exhibition that invited participating artists to articulate statements regarding their practice, processes, and philosophical approaches. The exhibition brings together bold, thoughtful works that engage with social, political, or environmental discourses, as well as quieter reflections on materials, sustainability, and everyday life. Giuliani notes that her work explores structure, form, and geometry through precious metals and gemstones, emphasizing clean lines, simple shapes, and the deliberate balance achieved through geometric design.
Moving to the Netherlands, Galerie Door in Nijmegen features an untitled 2025 necklace by Daniel Kruger, priced at 4,200 euros. Measuring 94 by 94 by 18 millimeters, the piece incorporates glass vials containing Hindu ritual pigments, pearls, glass flowers, and silver. Kruger’s approach investigates the unexpected commonalities between disparate entities such as seashells, gemstones, everyday plastics, relics, and fetishes, merging them into cohesive adornments. His art jewelry is characterized by its surprising, exuberant, mischievous, and seductive qualities, inviting viewers to pause and examine closely. By combining conventional and unconventional materials—ranging from fine gemstones and traditional textiles to mundane objects and refined metalwork—Kruger bridges the sublime with the mundane, the precious with the cheap, and the classical with the kitsch. Whether functioning as an ornament, a talisman, a personal statement, or simply an irresistible object of joy, Kruger’s work intentionally accentuates and transforms the human form.
In Auckland, New Zealand, Fingers Gallery exhibits 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. Dodd’s practice is widely recognized for its exceptional technical mastery across diverse gold alloys, silver, bone, wood, and shell. In recent years, her focus has centered on animal portrayals imbued with subtexts concerning human impact, ecological interaction, extinction, infestation, cruelty, and conflict. Heavily influenced by historic European craft traditions while remaining acutely mindful of the natural resource exploitation that historically enabled such artistic production, Dodd channels these complex, contradictory emotions into works characterized by tension, subtle humor, and deep intrigue.
At the Baltimore Jewelry Center in Maryland, United States, the spotlight turns to co-founder April Wood with her Circle Fern Hoops, priced at US$160. Fabricated from steel and sterling silver with dimensions of one-and-a-half by two-and-a-half by one-sixteenth of inches, these earrings reflect Wood’s extensive background as a metalsmith, sculptor, and jeweler. Wood earned her BFA in studio art with a concentration in metals and jewelry from Texas State University in San Marcos and her MFA from Towson University. Alongside teaching at the Baltimore Jewelry Center, she has instructed at prominent institutions including the Maryland Institute College of Art, the Corcoran College of Art and Design, the Penland School of Crafts, and the Idyllwild Arts Academy. Her work has been featured in publications such as Metalsmith, Surface Design Journal, and Sculpture, with an exhibition history that includes a solo presentation at the Austin Museum of Art and participation in the SIERAAD International Art Jewelry Fair in Amsterdam.
In Lisbon, Portugal, Galeria Reverso presents an untitled 2026 brooch by Manuel Vilhena, priced at 2,730 euros. Measuring 150 by 120 by 30 millimeters, the piece is crafted from juniper, tourmaline, 18-karat gold, steel, and cotton. Reflecting on the conceptual foundation of the piece, Vilhena notes that among all the dichotomies defining human existence, the most apparent remains the precarious dance between life and death. This theme is explored through the narrative adventures of pirates—a notorious group of figures who routinely defy mortality and live alongside death as an everyday partner.
Finally, Thereza Pedrosa Gallery presents an untitled 2025 brooch by Ela Bauer, priced at 1,340 euros. Measuring 125 millimeters in diameter and constructed from resin, pigments, organic material, and an aluminum pin, this brooch captures a pivotal developmental moment in Bauer’s artistic practice. It marks a clear structural shift away from the powerful two-dimensional works that initially established her reputation toward an ambitious, sculptural three-dimensional language. Rather than simply extending her previous vocabulary, the piece establishes an entirely new field of spatial and material exploration. This significant artistic evolution gained international acclaim when Bauer was awarded the Herbert Hofmann Prize at Schmuck 2026, solidifying the importance of this new direction within her ongoing research.
