Right now, art lovers and collectors alike could certainly use a meaningful treat. There is a profound, distinct satisfaction in acquiring a terrific piece of art jewelry for oneself, all while actively celebrating and supporting the visionary artists and the dedicated independent galleries that showcase their creations to the world. Art Jewelry Forum’s international network of gallery supporters plays a vital role in exhibiting, contextualizing, and championing contemporary art jewelry. Through the organization’s bi-monthly On Offer series, this extensive global network is given a dedicated platform to showcase extraordinary pieces that have been personally selected to tempt, provoke, and inspire enthusiasts and collectors. Taking a journey through this curated selection reveals that anyone exploring the collection is bound to encounter a fantastic piece they simply cannot live without, with interested buyers encouraged to contact the exhibiting galleries directly for individual inquiries.
Kicking off the October 2026 showcase, the Heidi Lowe Gallery, located in Lewes, Delaware in the United States, presents a striking brooch by artist Melanie Denis titled Vierge Reliquary for an Impossible Mother II. Priced at US$350, this intricate piece was specifically fabricated for the 2026 ReJewelry exhibition hosted by the gallery as part of the Radical Jewelry Makeover initiative. Denis constructed the brooch using a diverse 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 highlights the recent work of artist Catarina Silva with an untitled pendant priced at €650 plus shipping. Measuring 50 by 35 by 8 millimeters with a 250-millimeter-long chain, the oxidized silver piece incorporating coralline and agate was created for Silva’s solo exhibition Jardin d’agrément, which forms part of the official program for the third Lisbon Jewellery Biennial. The exhibition program imagines a lush, utopian garden inspired by paradise and the gardens of the gods found across various human cultures. In this conceptual space, humans, animals, and plants coexist harmoniously beyond hierarchy within a shared ecology of reciprocity and wonder. Within this framework, jewelry transforms into a living constellation of symbols—apples, unicorns, flowers, birds, and Marian imagery—evoking knowledge, care, fertility, and transformation. At the emotional and thematic heart of the exhibition, the snake emerges not as a traditional tempter, but as a guardian of wisdom, regeneration, and the continuous cycle of life. Rather than longing for a lost Eden, Jardin d’agrément serves as a poetic fiction inviting viewers to imagine new ways of inhabiting the world where coexistence is practiced as a living reality.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works presents A Denial, a brooch by artist Kerianne Quick priced at US$550. Fabricated from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, the piece measures five by three and a quarter by three-quarters of inches. Quick’s artistic research is deeply rooted in craft practice as a cultural expression, with a particular emphasis on material specificity—a term the artist defined in their master’s thesis to recognize materials as active, participating agents in the creation of meaning. Through their creative practice, Quick seeks to unearth overlooked and hidden stories through object-making, drawing directly upon the embedded histories of materials to coalesce meaning and generate cultural impact. The black-shrouded mirrors from Quick’s Nevermind series, crafted from leather and Plexiglas, directly reference the somber historical mourning tradition of covering household mirrors following a death. Rather than functioning to protect the spirit of the deceased from catching its own reflection, these obscured mirrors turn the gaze sharply back upon the living, materializing complex internal states of shame, culpability, despair, and helplessness.
Moving northward to Umeå, Sweden, Four Gallery features Brooch 534.24 l by artist Karin Seufert, priced at €700 excluding VAT. Crafted from PVC, silver, and steel with dimensions of 69 by 56 by 24 millimeters, the piece addresses the abstract and elusive nature of time. Much like emptiness, time is inherently difficult to depict; it is complex, ever-changing, and fundamentally immaterial. Throughout human history, the sky has served as a primary tool for orienting oneself within the passage of time, with the sun defining the rhythm of days, the moon marking longer 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, cyclical phases, and the stars in a multitude of multifaceted forms.
In London, United Kingdom, Objects Beautiful gallery presents The Other Shore #17, a 2022 brooch by Taiwanese artist Mei Fang Chiang, priced at £760 without tax. Measuring 80 by 65 by 28 millimeters and fabricated from aluminum and stainless steel wire, the piece reflects Chiang’s specialized expertise in working uniquely with anodized aluminum. Based in Tainan, Taiwan, Chiang has developed proprietary studio techniques that allow her to utilize color in singularly striking ways. Her artistic output is deeply engaged with narratives exploring the delicate coexistence of nature and the man-made. An award-winning creator whose work is already held in prestigious public collections, including the Gold Museum in Taiwan, Chiang produces jewelry that is celebrated for being original, visually beautiful, exceptionally lightweight, and remarkably comfortable to wear.
Gravers Lane Gallery in Philadelphia, Pennsylvania, showcases the Silver Link Necklace by Naomi Kurita, a 2025 piece crafted from sterling silver and measuring 26 inches in length, offered at US$3,080. A simple chain leaves nowhere for a maker to hide, as every single link matters profoundly—from its precise proportion and secure join to the way it moves and rests against the next. This quiet, demanding precision has been the hallmark of Kurita’s career spanning three decades. Running long enough to fall well below the collarbone, the layered necklace embodies Kurita’s enduring conviction that jewelry should remain natural, simple, and made to be worn for a lifetime. Alongside her original collections, Kurita frequently redesigns pieces around her clients’ own precious stones, giving long-held or inherited gems a completely renewed form and contemporary relevance.
At the Wearable Art Museum, director Lisa M. Berman presents Offering a Gem, a 2001 necklace by Colombian artist Andrea Ortiz, priced at US$1,200. Created as part of the Linking Realm series during Ortiz’s graduate studies at the Savannah College of Art and Design, the necklace is fabricated from coffee beans, bronze, and brass, measuring 180 by 230 by 10 millimeters. The work addresses the disparaging conditions faced by coffee bean workers in Ortiz’s native Colombia, shedding light on urgent human rights issues and the struggle for acceptable working conditions. Berman curated this necklace to be featured alongside Max Alexander’s acclaimed Coffee Bean dress for the New York Times in 2024. Having earned four prestigious International Design Awards since her graduation, Ortiz’s work is backed by the museum owner’s commitment to offering the piece for loan requests in future exhibitions.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, highlights And I Dreamed That I Would Be Happy, a brooch by Mexican jeweler, enameler, and researcher Esteban Erosky, priced at US$1,495. Now based in Madrid, Spain, Erosky has studied across multiple countries, specializing in classic enameling techniques while adapting them to address contemporary social, human, and gender issues, as well as advocating for individual freedom. Despite exploring inherently painful themes, Erosky’s pieces function as short stories conveyed through a playful, illustrative language. This particular brooch is meticulously hand-painted with enamel on copper, accompanied by glass beads, nickel silver, and steel wire, measuring approximately three and three-quarters by one and a half inches.
In Adelaide, Australia, Zu design features a striking ring by Angela Giuliani titled Sapphire and Diamond, priced at AUS$7,300. Crafted from sapphires, a cognac diamond, nine-karat yellow gold, and sterling silver, the ring is a finger size N with a top measuring 16 by 23 millimeters and standing 32 millimeters high from the base. The piece is part of stateMEANT, a contemporary jewelry exhibition for which Zu design asked participating artists to write personal statements about their work, practices, and underlying processes. The exhibition brings together bold, thoughtful works that carry a distinct message, whether situated within social, political, and environmental spheres or speaking more quietly about materials, sustainability, art, craft, and everyday realities. Giuliani notes that her work explores structure, form, and geometry through precious metals and gemstones, drawing inspiration from clean lines, simple shapes, and the balance inherent in geometric design. For Giuliani, the making process holds equal importance to the finished object, reflecting careful craftsmanship, attention to detail, and a timeless commitment to wearable art.
Galerie Door in Nijmegen, Netherlands, presents an untitled 2025 necklace by Daniel Kruger, priced at €4,200. Fabricated from glass vials containing Hindu ritual pigments, pearls, glass flowers, and silver, the piece measures 94 by 94 by 18 millimeters. Kruger’s art jewelry is known for being surprising, exuberant, mischievous, and seductive, inviting viewers to linger and look closer. By combining disparate elements—from 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. The resulting jewelry acts as an ornament, a talisman, a statement, or an irresistible object designed to bring enduring joy to the wearer.
Fingers Gallery in Auckland, New Zealand, showcases A Night Out, a 2026 brooch by Dunedin-based artist Jane Dodd, priced at NZ$1,750. Measuring 73 by 33 by 22 millimeters, the brooch is fabricated from a complex mixture of ebony, bone, sterling silver, marcasite, and spessartite garnet, demonstrating the exceptional technical craftsmanship that defines Dodd’s career. In recent years, Dodd’s practice has centered heavily on the portrayal of animals, using subtle subtexts of human impact, interaction, extinction, infestation, cruelty, and conflict. Strongly influenced by historic European craft traditions while remaining acutely mindful of the natural plunder that often enabled such historic output, Dodd channels these contradictory emotions into works of palpable tension, humor, and intrigue.
In Baltimore, Maryland, the Baltimore Jewelry Center highlights the Circle Fern Hoops, a 2023 pair of earrings by metalsmith, sculptor, and co-founder April Wood, priced at US$160. Fabricated from steel and sterling silver, the earrings measure one and a half by two and a half inches. Wood received 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 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, and has been exhibited nationally and internationally, including a solo exhibition at the Austin Museum of Art and appearances 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. Fabricated from juniper, tourmaline, 18-karat gold, steel, and cotton, the piece measures 150 by 120 by 30 millimeters. Vilhena addresses the precarious dance between life and death—perhaps the most evident dichotomy of human existence—through the lens of a notorious gang of evildoers who daily defy mortality and live alongside it as a partner: pirates.
Finally, the Thereza Pedrosa Gallery features an untitled 2025 brooch by Ela Bauer, priced at €1,340 and measuring 125 millimeters in diameter. Crafted from resin, pigments, organic material, and an aluminum pin, this brooch marks a pivotal moment in Bauer’s artistic practice, signaling a clear shift from the powerful two-dimensional works for which she is widely recognized into a new, sculptural three-dimensional 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, firmly confirming the importance of this new direction within her evolving body of research.
