Right now, art lovers everywhere could use a moment of inspiration and comfort. There is a distinct, grounding pleasure to be found in acquiring a terrific piece of art jewelry for oneself, all while actively celebrating and supporting the visionary artists and dedicated galleries that bring these works to light. Art Jewelry Forum’s international network of gallery supporters consistently champions the exhibition of contemporary art jewelry, bridging the gap between creators and collectors across the globe.
To foster this connection, Art Jewelry Forum presents the September 2026 installment of its bi-monthly On Offer series. This curated showcase allows an extensive, international network of galleries to present extraordinary pieces personally selected to tempt, provoke, and inspire. From tactile wooden pendants and narrative-driven brooches to repurposed textile sculptures and thought-provoking metalwork, this edition offers a diverse cross-section of what is happening in the global contemporary jewelry scene. Collectors and enthusiasts are invited to explore the selection and contact the respective galleries directly for inquiries and acquisitions.
Opening the September showcase is Pistachios Contemporary Art Jewelry in Chicago, Illinois, which presents a unique brooch by artist Mélanie Denis titled J’Aime Hydro. Priced at US$1,595, the piece is crafted from sterling silver, Plexiglas, photographic paper, ink, gold leaf, acetate, cotton, acrylic, and steel, measuring approximately 3 by 3 inches. The brooch addresses deep themes of memory, loss, and grief, forming part of Denis’s solo exhibition at the gallery titled Transition. This body of work was created over three years, traversing three territories, three inner states, and three defining moments of the artist’s life. Explaining the conceptual roots of the collection, Denis notes that the works were largely created in Mont Bélair, a vast forested territory on the outskirts of Quebec City, Canada. The initial pieces bear witness to a profound attachment to a place of refuge that eventually became the setting for a rupture and a necessary departure. Dark and silent winter landscapes gradually give way to a vibrant palette signaling a transition toward a new territory, culminating in a phase titled Renaissance, which marks an arrival in an urban environment chosen in alignment with the artist’s values and reclaimed freedom.
Traveling to the Southern Hemisphere, Fingers Gallery in Auckland, New Zealand, features a striking pendant by New Zealand-born artist John Ecuyer from his 2026 Kina/Abundant series. Available for NZ$320, the pendant is fashioned from jarrah burl wood sourced from Western Australia and measures 4 1/8 by 2 1/2 inches. Ecuyer, who began creating turned wooden objects in 1988, expanded his practice to explore stone, bone, and cast glass, developing a special interest in the relationship between his work and the art of healing across past and present contexts. His collections are held in prestigious institutions such as the Auckland War Memorial Museum, the Dowse Art Museum, and the Whangarei Art Museum in New Zealand, as well as the Detroit Institute of Art and the Maoli Wood Art Museum in Taiwan. He has exhibited widely across Los Angeles, Detroit, Korea, and Australia.
In the United States, the Wearable Art Museum highlights the work of notorious maker Marty Ornish through her On the Fringe collection. The featured piece, titled Fringe Benefits, is a collar created from a historical 100-year-old cotton quilt, batting, letterpress ink, and fringe, measuring 24 by 20 by 22 inches. Priced at US$1,200, the work reflects Ornish’s daily studio mantras of zero waste, valuing the deeply used, and asserting that nothing is truly new. Known as an established artist who creates politically charged, thought-provoking museum exhibitions using fabric as material and meaning as substance, Ornish previously mounted her notable 2021 Social Security exhibition at the Oceanside Museum of Art in California. Her latest wearable sculptures, including the On the Fringe collar series, are featured in the California Fibers exhibition The Languages of Fiber at the Huntington Beach Art Center in California.
Moving across the Atlantic to Lisbon, Portugal, Galeria Reverso presents work by Dutch-born artist Gésine Hackenberg. The featured piece, Precious Fluids #1, is a 2012 brooch crafted from silver-plated glass and red brass, offered at €940. Part of the Still-lives Collection, these kitchen glass brooches serve as a contemporary interpretation of 17th- and 18th-century Dutch still-life paintings. Hackenberg explains that those historical paintings typically depicted items of everyday life carrying significant economic and emotional weight. By cutting vintage glassware and rearranging the fragments into new compositions, the artist translates three-dimensional, down-to-earth objects into precious jewelry where the wearer’s body functions as a canvas. The collection also pays homage to the history of European glass manufacture and its designers, particularly those in the Netherlands, Germany, and Scandinavia.
In Adelaide, Australia, Zu design showcases Linda van Niekerk’s neckpiece SOS Graffiti, drawn from her 2026 series Just Saying. Priced at AU$1,360, the neckpiece is crafted from sterling silver, oxidized sterling silver, and silk, stretching 47 1/4 inches long with a chenier diameter of 2.2 millimeters. Describing the impetus behind the work, van Niekerk writes that in a world where political, social, financial, and environmental aspects of life frequently defy logic, she began making work to vent, rage, and poke fun at the prevailing insanity, offering a form of protest delivered with a smile.
Galerie Noel Guyomarch in Montreal, Canada, features a bold brooch titled Goliath by Märta Mattsson. Priced at €3,200, the piece is constructed from a real Goliath beetle, cicada wings, lacquer, resin, pigments, silver, gold-plated silver, and stainless steel, measuring 6 1/4 by 6 1/2 by 1 1/2 inches. Through her collection Glow against the Dark, Mattsson continues her ongoing exploration of insects and the conceptual ideas they convey, producing vibrant and colorful works that assert their distinctiveness with confidence.
In Stockholm, Sweden, Platina gallery presents an untitled 2024 necklace by Ameli Dévé, offered at US$3,600. Crafted entirely from oxidized silver and measuring 14 by 6 1/4 by 3/4 inches, the piece demonstrates Dévé’s engagement with universal symbolism and familiar forms like the braid. By utilizing pure fine silver, whose softness permits forms otherwise difficult to achieve, the artist stretches the material to its absolute limits. The results evoke traditional craftsmanship while simultaneously challenging its boundaries and re-examining classic structures. Born in northern Sweden and now based in Gothenburg, Dévé completed a three-year apprenticeship making traditional Tibetan jewelry before studying in Sweden, New Zealand, and France, ultimately earning an MFA in jewelry art from the Academy of Design and Crafts in Sweden.
Objects Beautiful in London, United Kingdom, highlights the brooch Dogger Bank II by Danish/Dutch artist Gitte Nygaard, priced at £1,930 excluding tax. The reversible brooch is constructed from organic wool, plant-dyed weld silk, cotton, Japanese washi and gampi paper, indigo-dyed hemp denim, Nakachu silk thread, silver, and a stainless steel pin, measuring 7 by 3 1/8 by 3/8 inches. The textiles are clasped together by a silver oval ring. Named after the large, shallow sandbank in the North Sea, the work mirrors the sea by remaining porous, carrying memory not merely as an image, but as a material presence. Gallerist Yael Reisner notes that Nygaard remains an under-recognized European art jeweler internationally, largely due to her choice not to maintain an Instagram account, describing her as a profoundly talented, modest, and serene creator.
At Brooklyn Metal Works in New York, In the Gallery presents Kerianne Quick’s necklace 7.62 x 39 (Oh Well), priced at US$1,500. Created from titanium, vegetable-tanned leather, and cotton, the piece measures 26 by 11 by 1 inch and belongs to a collection of necklaces and brooches drawing inspiration from historical and contemporary body armor, including utility wear, aprons, and tactical vests. The inclusion of titanium wound inserts, informed by slow-motion projectile testing and forensic imagery of high-caliber bullet wounds, transforms evidence of bodily trauma into adornment while interrogating concepts of manufactured protection and false security.
Four Gallery in Umeå, Sweden, features Alexander Blank’s 2025 brooch Bones & All, crafted from Corian and silver and measuring 3 1/2 by 2 3/4 by 1/2 inches. Priced at €680 excluding VAT, the piece examines the dual nature of hands as tools that cook, build, heal, and navigate digital screens. Questioning whether hands might ever seek to break free from the brain’s commands to establish a new reality, Blank’s speculative evolutionary work depicts fingers and hands becoming independent and autonomous entities.
Gravers Lane Gallery in Philadelphia, Pennsylvania, presents Teresa Shields’s large-scale necklace Pomponner, priced at US$6,700. Measuring 40 by 48 by 6 inches, the piece is made from felted wool—a technique traditionally associated with women’s handiwork—and features a hidden magnetic clasp alongside magnetic wall mounts for display. The work is part of the I Feel Seen collection, which investigates the female gaze and the lifelong experience of being watched and judged without truly being seen. The color palette draws inspiration from the color logic of artist Hilma af Klint, assigning specific meanings to blue, yellow, and pink.
Heidi Lowe Gallery in Lewes, Delaware, showcases Carin Jones’s brooch On a Whim Tattoo, available for US$350. Measuring 2 1/2 by 2 1/4 inches, the piece is constructed from a vintage tin, sterling silver, acrylic, and signature brass and stainless steel bolts. Jones focuses on historical specimens such as vintage tins, replacing traditional gemstones with found objects set within finely crafted precious metals to challenge conventional notions of value and grandeur.
The Baltimore Jewelry Center in Maryland features Evelyn Kline’s 2024 brooch Time Machine, priced at US$1,450. Constructed from enamel, copper, sterling silver, and fine silver, the piece measures 3 1/2 by 4 1/2 by 1/2 inches. Kline, a metalsmith and enamelist from North Carolina, developed the work as an exploration of memory, reflecting on how visiting an unrenovated local grocery store during a period of transition in her life served as a portal to childhood memories and a source of comfort.
Concluding the September selection, Galeria Tereza Seabra in Lisbon, Portugal, presents Catarina Silva’s Alfinete Original (Original Brooch), priced at €750 plus shipping. Crafted from leather, glass seed beads, silk thread, zinc, silver, and stainless steel, the 5 1/8 by 4 by 3/8-inch brooch was created for Silva’s solo exhibition Jardin d’agrément, part of the third Lisbon Jewellery Biennial. The exhibition envisions a lush, utopian garden inspired by paradisiacal and mythological gardens across cultures, where humans, animals, and plants coexist beyond hierarchy. The jewelry acts as a constellation of living symbols—including apples, unicorns, and the snake as a guardian of wisdom—inviting viewers to imagine new ways of inhabiting the world through shared ecology and poetic fiction.
