Right now, art enthusiasts and collectors alike could use a special treat. There is a profound sense of satisfaction that comes from 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 celebrate and exhibit the pinnacle of contemporary art jewelry, bridging the gap between creators and admirers across the globe.
To foster this connection, Art Jewelry Forum presents its bi-monthly On Offer series. This extensive network of international galleries utilizes the platform to showcase extraordinary pieces personally selected to tempt, provoke, and inspire collectors. Taking a close look at the curated selections reveals a world of diverse materials, profound conceptual narratives, and meticulous craftsmanship. Viewers are bound to find a fantastic piece they simply cannot live without, with all direct inquiries welcomed by the respective galleries.
Opening this month’s selection, 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 features a stunning lilac-colored druzy that sparkles with a unique internal fire. Framed by handmade oxidized sterling silver tassels, this one-of-a-kind creation possesses a great deal of movement, catching the light with every gesture of the wearer. Because a bail is included in the design, this incredible piece offers versatility, functioning effortlessly either as a dynamic brooch pinned to a garment or as a pendant suspended from the neckline.
Venturing into the realm of wearable sculpture, the Wearable Art Museum highlights the work of artist duo 2Roses with their 2026 brooch titled Perch. Priced at US$750 and captured in photography by Corliss Rose, the piece measures 4 x 4 x 1 ½ inches (102 x 102 x 38 mm) and is crafted from polymer clay and stainless steel. 2Roses specializes in small, one-of-a-kind sculptures built to be worn anywhere on the body. Perch pairs two hollow forms covered in polymer clay tesserae, with each individual piece meticulously cut and finished before it is set, ensuring the surface shimmers as the wearer moves through space. One form is dark and closed, while the other is pale and open, tipped against the first and held in a permanent state of tension and balance. The wearer ultimately completes the composition by choosing where on the body the piece is placed and the specific angle at which it is positioned, meaning every placement recomposes the work entirely by design.
Across the globe at Fingers Gallery in Auckland, New Zealand, artist Becky Bliss is featured with her 2024 pendant series titled Play Time, priced at NZ$750 each. Photographed by Michael Couper, the pendants are constructed from mild steel, sterling silver, paint, and cord, with individual dimensions ranging from approximately 93 x 52 mm to 103 x 48 mm. Bliss trained initially as a graphic designer before transitioning into a contemporary art jeweler, accumulating a prestigious exhibition record that includes selections for the esteemed Schmuck special exhibition in Munich in both 2015 and 2020. Describing her current offering, Bliss notes that Play Time represents a family of works that plays with color, forms, and gender, while also subverting expectations through endless combinations to demonstrate the fluidity of youth and the boundaryless expression of play. By anthropomorphizing the fundamental building blocks for child development—which were originally formalized by kindergarten system founder Friedrich Froebel in the early 1800s through a series of instructional objects known as "gifts"—these works engage directly with the geometric shapes found in gift number two, namely circles, squares, and triangles.
Moving to the Netherlands, Galerie Door in Nijmegen presents an untitled 2026 brooch by master artist Daniel Kruger, crafted from copper and cornelian with a retail price of 2,000 euros. Asking what a shell, a gemstone, a piece of plastic, a relic, and a fetish all have in common, Kruger’s work demonstrates how disparate elements can be harmoniously combined into a single piece of jewelry. Kruger’s art jewelry is notoriously surprising, exuberant, sometimes mischievous, and invariably seductive. It beckons to the observer, inviting them to linger and look a little longer. By combining every conceivable material and technique—ranging from precious gemstones to everyday objects, and from traditional textile work to refined metalwork—Kruger ensures that the sublime meets the mundane, the precious meets the cheap, and the classical meets the kitsch. The resulting juxtaposition makes each piece overwhelmingly appealing, drawing the eye naturally to the neck, chest, hand, or ear. For Kruger, jewelry functions simultaneously as an ornament, a talisman, a statement, or simply an irresistible object designed to bring joy.
In Adelaide, Australia, Zu design participates with a piece by Angela Giuliani titled Parti Sapphire, created in 2026 from parti sapphires, nine-karat gold, and sterling silver. Priced at AUS$8,615 and photographed by Jane Bowden, the ring measures at finger size M, with a top dimension of 19 x 23 mm and a height of 30 mm from the base of the band to the top. The work is part of Zu design’s exhibition titled stateMEANT, for which the gallery asked participating artists to write about their work, practices, and processes. The exhibition brings together bold, thoughtful works that carry a distinct message, whether situated within social, political, or environmental discourses, or speaking more quietly about materials, sustainability, art, craft, and everyday realities. Giuliani explains that her work explores structure, form, and geometry through precious metals and gemstones. Drawn to clean lines, simple shapes, and the balance created by geometric design, she views the making process as equally important as the finished object, enjoying the way each design evolves through careful craftsmanship. Working primarily with sterling silver alongside yellow and rose gold, she selects gemstones to add color and interest, integrating them deeply into the design rather than using them merely as surface decoration. Her ultimate aim is to forge jewelry that is thoughtful, well-made, and timeless—pieces that people genuinely enjoy wearing and connect with over years of use.
Up north in Umeå, Sweden, Four Gallery showcases Necklace 539, a 2026 creation by Karin Seufert crafted from PVC and thread, measuring 280 x 125 x 12 mm. Photographed by the artist in collaboration with Four Gallery, the piece carries a retail price of 1,700 euros, excluding VAT. Conceptualizing her work around the elusive nature of time, Seufert notes that time, much like emptiness, is notoriously difficult to depict because it is complex, ever-changing, and fundamentally immaterial. Throughout human history, the sky has served as the primary tool for orienting oneself within time, with the sun defining days, the moon marking longer phases, and the stars enabling spatial navigation. Seufert’s latest works physically portray these celestial bodies, rendering the sun as a flickering yellow circle, the moon in its shifting phases, and the stars in multifaceted forms translated through synthetic and textile mediums.
Gravers Lane Gallery in Philadelphia, Pennsylvania, highlights the work of Naomi Kurita with an 18-karat yellow gold and sterling silver necklace produced in 2025. Measuring 15 inches long and photographed by Rachael Forbes, the piece is retailed at US$4,752. For three decades, Kurita has anchored her practice in three guiding words: natural, simple, and wearable. Born in Japan, she began her formal jewelry education at a college in Denver before specializing in jewelry and metalwork at the Rhode Island School of Design, subsequently refining her hand alongside traditional and modern craftsmen and designers in New York. The restraint she cultivated across these varied experiences is palpable in this timeless necklace, which contrasts 18-karat yellow gold against sterling silver—two metals possessing distinct warmth—at a length designed to sit closely at the base of the neck. Kurita’s creations have been widely exhibited across museums, galleries, and high-end stores in both the United States and Japan.
Representing the Baltimore Jewelry Center in Maryland, artist Liz Clark is featured with her 2023 Petite Wreath Studs, crafted from sterling silver and measuring 1 x 1 x ½ inches per earring. Photographed by J Diamond, the earrings are attractively priced at US$175. Clark earned her Bachelor of Fine Arts in crafts and material studies from Virginia Commonwealth University in 2006. Based in Providence, Rhode Island, she maintains a dedicated metal studio where she creates art and jewelry on a part-time basis while continuing to exhibit her work through galleries nationwide.
In London, United Kingdom, Objects Beautiful gallery presents The Other Shore #2, a 2022 brooch by Mei Fang Chiang created from aluminum and stainless steel wire, measuring 100 x 95 x 25 mm. Photographed by the artist, the piece is offered at 760 British pounds without tax. Based in Tainan, Taiwan, Chiang is an acclaimed art jeweler renowned for her unique expertise in working with anodized aluminum. Utilizing proprietary techniques developed within her studio, she commands color in a distinct and vibrant manner while engaging deeply with narratives concerning the coexistence of nature and the man-made. An awarded artist whose works reside in prominent public collections, including the Gold Museum in Taiwan, Chiang produces jewelry that is celebrated for being original, visually striking, exceptionally lightweight, and remarkably comfortable to wear.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works features a 2026 brooch by Kerianne Quick titled Well, It’s Not Up to Us. Priced at US$650 and photographed by the artist, the piece measures 3 ½ x 8 ½ x 1 ¼ inches and is constructed from vegetable-tanned leather, Plexiglas, and a nickel alloy pin. Quick’s academic research is deeply rooted in craft practice as a cultural expression, with a particular focus on "material specificity"—a theoretical term they defined in their master’s thesis to recognize materials as active, participating agents in the generation of meaning. Through creative practice, Quick seeks to uncover overlooked and hidden stories by drawing upon the embedded histories of materials to create cultural impact. Exemplifying this approach, the black-shrouded "mirrors" from the Nevermind series are fabricated from leather and Plexiglas, directly referencing historical mourning traditions of covering household mirrors after a death. Rather than serving their traditional folkloric purpose of protecting the spirit of the deceased from its own reflection, these obscured mirrors intentionally turn the gaze back upon the living, materializing complex emotional states such as shame, culpability, despair, and helplessness.
Galeria Tereza Seabra in Lisbon, Portugal, presents Sugar Rush, a 2026 necklace by Catarina Silva created from painted tin, leather, glass seed beads, glass flowers, embroidery, zinc, silver, and pearls, measuring 300 x 100 x 10 mm. Photographed by Pedro Tropa, the necklace is available for 1,500 euros plus shipping. This piece represents Silva’s most recent output for her solo exhibition titled Jardin d’agrément, presented as part of the official program for the third Lisbon Jewellery Biennial. The exhibition envisions a lush, utopian garden inspired by paradisiacal landscapes and mythological gardens of the gods found across diverse cultures. Within this imagined space, humans, animals, and plants coexist free of hierarchy within a shared ecology of reciprocity and wonder. Jewelry functions here as a living constellation of symbols—including apples, unicorns, flowers, birds, and Marian imagery—that collectively evoke knowledge, care, fertility, and transformation. At the conceptual heart of the exhibition, the snake emerges not as a tempter, but as a guardian of wisdom, regeneration, and the continuous cycle of life. Rather than mourning a lost Eden, Jardin d’agrément serves as a poetic fiction inviting viewers to imagine alternative ways of inhabiting the world where harmonious coexistence functions as a living practice rather than an unattainable ideal.
At Heidi Lowe Gallery in Lewes, Delaware, Emily Cobb is featured with Floppy Flower, a 2026 assemblage created for the ReJewelry exhibition hosted by the Radical Jewelry Makeover initiative. Priced at US$1,480 and photographed by Madison Hoffman and Auriele Gould, the piece measures 30 x 8 x 1 ½ inches and is expertly fabricated from gold-plated brass ear nuts, surgical steel ear nuts, assorted deadstock stud earrings, brass jump rings, and silver-filled jump rings.
Concluding this month’s presentation, Galeria Reverso in Lisbon, Portugal, exhibits an untitled 2026 necklace by Manuel Vilhena, crafted from juniper, ebony, fine silver, cotton, coral, and steel, measuring 200 x 200 x 30 mm. Photographed by Eduardo Ribeiro, the piece carries a retail price of 2,220 euros. Reflecting on the conceptual underpinnings of the work, Vilhena notes that among all the dichotomies humans must navigate, perhaps the most evident is the precarious dance between life and death. This profound theme is explored through the imagined adventures of a notorious gang of evildoers who daily defy mortality and embrace death as a familiar partner: pirates.
