Right now, art lovers and collectors alike could certainly use a moment of indulgence. There is a distinct, grounding pleasure to be found in acquiring a terrific piece of contemporary art jewelry for oneself while simultaneously celebrating and supporting the visionary artists and dedicated galleries that bring these works to light. Art Jewelry Forum’s international network of gallery supporters continues to champion the dynamic field of art jewelry, bringing boundary-pushing creations to enthusiastic audiences worldwide.
The organization’s ongoing, bi-monthly "On Offer" series serves as a vital bridge between this extensive network of international galleries and a global community of collectors. Designed to showcase extraordinary pieces personally selected to tempt and inspire, the curation invites connoisseurs to explore the cutting edge of wearable art. A close look through the current catalog reveals a diverse array of exceptional works, ensuring that anyone with an appreciation for fine craftsmanship is bound to discover a fantastic piece they simply cannot live without. For those interested in acquiring these works, inquiries and purchases can be made by contacting the featured galleries directly.
Among the standout pieces in this November installment is Caroline Broadhead’s "Suspended Pearls V," a striking 2023 necklace presented by Galeria Reverso in Lisbon, Portugal, under the direction of Paula Crespo. Priced at 4,920 euros, the piece is constructed from glass beads, thread, a vintage necklace, and a vintage necklace clasp, measuring 19 ¼ by 9 ⅝ inches. Broadhead reflects on the conceptual underpinnings of the work, noting that pearls have conventionally been associated with dignity and composure. In this piece, however, there is evidence of something breaking or coming undone, with the pearls seemingly going their own way. The design successfully combines two generic types of beaded necklaces—the single string of beads and the beaded collar—integrating them so they are worn at the same time to create a compelling double presence.
Pushing the boundaries of material science and traditional goldsmithing, Australian gallery Zu design, located in Adelaide and led by Jane Bowden, presents Vanessa Williams’s "Puffed Up." This 2026 neckpiece, crafted entirely from titanium and priced at AUS$4,950, measures 21 ¼ by 1 ½ by ½ inches. Williams, who has predominantly worked with titanium for many years, is continually seeking innovative ways to push the limits of the material. "Puffed Up" was created using a technically demanding process she had long wanted to try, despite uncertainties regarding titanium’s relative lack of pliability compared to other metals. The fabrication involves cleaning the metal, drilling a blow hole into a single disc, and laser-welding the components together. Once welded, the titanium is annealed with heat to increase flexibility, a process that simultaneously oxidizes the surface into striking shades of gray. While still hot from the torch, the artist uses an air gun to inflate the metallic pods, resulting in a lightweight, volumetric masterpiece.
International acclaim also highlights the current offerings, as seen with Anneli Tammik’s brooch "Peace to Piece Flores," presented through the Wearable Art Museum under Director Lisa M. Berman. Priced at US$1,900, the brooch is crafted from 3D-printed nylon, sterling silver, and London topaz, measuring 5 ½ by 3 ½ by 2 inches. Tammik’s original "Peace to Piece" design recently earned distinction as one of 12 finalists chosen from 183 submissions in the international jewelry selection at Venice Jewelry Week 2026, where it was exhibited at the Chiesa dell’Abbazia della Misericordia in Cannaregio. As an established, multi-awarded artist from Estonia, Tammik presents this brooch and its related collections on behalf of the Wearable Art Museum during New York City Jewelry Week 2026.
Simplicity and strong geometric proportion take center stage at Fingers Gallery in Auckland, New Zealand, where gallerist Mary Curtis features the work of preeminent jeweler Warwick Freeman. Titled "Shiv Pendant" and created in 2026 from natural deer antler, the piece measures approximately 4 ⅓ by 4 ⅜ inches and is available for NZ$2,500. This classically beautiful work exemplifies Freeman’s signature aesthetic, utilizing raw organic material to create a pendant whose stark simplicity and careful scale command the viewer’s attention.
In Philadelphia, Gravers Lane Gallery—represented by Mia Chen—highlights the innovative chainmail creations of Jesse Aviv, founder of Free Maison. The "Earthworm Necklace, Black," priced at US$205 and measuring 18 by 1 by 1 inches, is fashioned entirely from black anodized aluminum, ensuring a lifetime finish that will not oxidize or rust. Aviv has dedicated significant study to the over one thousand existing chainmail weaves, which traditionally carry geographic names like European 4-in-1 and Full Persian 6-in-1, each yielding distinct textures and drapes. Through the development of ciphered chainmail, Aviv binds these diverse weaves at specific angles and tensions, transforming structural transitions into central design elements. The "Earthworm" is engineered exclusively from raw rings without the use of stitching, glue, or internal frames. The striking visual impact of Free Maison’s work has also caught the eye of the broader fashion world, with costume designer Molly Rogers recently outfitting characters in the brand across three premiere events for the film The Devil Wears Prada 2.
Monumental scale and narrative depth meet in Carina Shoshtary’s "Deep Waters," a combination necklace and wall sculpture presented by Pistachios Contemporary Art Jewelry in Chicago, through marketing director Meg Nash. Priced at 5,495 euros, the piece incorporates snail shells, seashells, PLA with cellulose, paper, silver, lacquer, and paint, anchored by a pendant measuring approximately 7 ½ by 7 ½ inches. Shoshtary poetically describes the sentiment behind the work, encouraging wearers to let the waves come, lift, rock, and wash over them without needing to fight the turbulence of the water. The piece highlights Shoshtary’s exceptional craftsmanship, featuring a pendant that can be effortlessly detached from the necklace and mounted on a wall as a standalone sculpture. This striking work is slated to appear in a collaborative exhibition between Pistachios and Thereza Pedrosa Gallery titled Fireworks in the Rain, which will debut at Pistachios before traveling to Munich in March 2027 for Munich Jewelry Week.
In London, Objects Beautiful—led by architect and gallerist Yael Reisner—showcases the meticulous detail of Michael Becker. The "Lapis Lazuli Square Ring," crafted in 2023 from 18-karat gold and a deep-blue lapis lazuli stone mined in Afghanistan, measures 1 by 1 inch and is offered at £4,420 GBP. Becker is widely celebrated for his remarkable objects, exceptional level of detail, and unconventional stone-setting techniques, with this particular ring offering a wonderfully smooth, rounded profile designed to comfortably hug the wearer’s finger.
Balance and material dialogue drive the work of Federica Sala, whose brooch Confuso is featured by Thereza Pedrosa Gallery in Asolo, Italy, under the guidance of Thereza Pedrosa. Priced at 1,030 euros and crafted from glass, silver, and marble, the piece brings together two contrasting materials to explore the interplay between strength and fragility, weight and lightness, and opacity and transparency. Rather than forcing these opposing qualities into competition, Sala achieves a delicate equilibrium where they coexist and mutually enhance one another.
Environmental themes and modern technology converge in Sofia Björkman’s brooch Resting Shadows, presented by Four Gallery in Umeå, Sweden, through Karin Roy Andersson. Created in 2025 from PLA, steel, and acrylic paint, the brooch measures 9 ½ by 6 ¼ by ¾ inches and is priced at 640 euros excluding VAT. Björkman’s current body of work was sparked by receiving a 3D pen as a birthday gift, prompting a series of three-dimensional drawings exploring wilderness, environmental impact, burnt landscapes, genetically modified plants, and affected animals. By treating the human body as a landscape, Björkman allows these wearable pieces to travel across space, time, and changing contexts.
The vital movement of upcycling and material sustainability is prominently featured at Heidi Lowe Gallery in Lewes, Delaware, through gallerist Heidi Lowe. The gallery exhibits Breathe 25, a 2026 brooch by Anika Smulovitz created for the Radical Jewelry Makeover’s ReJewelry Exhibition. Measuring 7 by 2 ½ by 1 inches and priced at US$540, the brooch is thoughtfully constructed entirely from recycled silver, found wood, and repurposed natural pearls, showcasing the creative potential inherent in discarded materials.
Playful kinetic sculpture takes form in Rosalie Maguire’s Carousel Earrings, hosted by the Baltimore Center through director J Diamond. Priced at US$325 and measuring 5 by 3 by 3 inches, these sterling silver earrings incorporate Peruvian opal, pearl, and green calcite. Constructed from tiny horse-like shapes fabricated from sterling silver scraps—some accented with set stones—the earrings are designed to evoke strange and fantastical memories while introducing sound and movement to bodily adornment. Maguire’s craftsmanship is further supported by her role as an artist-in-residence at the Baltimore Jewelry Center for the fall 2026 session.
Concluding this edition of the On Offer series is Sanna Svedestedt’s brooch The Second After—Sea Salted Caramel, presented by Platina gallery in Stockholm, Sweden, under the direction of Sofia Björkman. Priced at US$1,400, the 2025 brooch is crafted from naturally tanned reindeer leather and light clay, measuring 5 ½ by 3 ⅚ by 4 inches and weighing 30 grams. The piece draws inspiration from the universally relatable moment of dropping an ice cream cone—a tangible symbol of a disaster already realized. Svedestedt explores the concept that even when things go wrong, a sense of calm can be found in the eye of the storm, allowing individuals to assess damage and continue moving forward. Svedestedt works sculpturally with vegetable-tanned leather, employing historical techniques to continuously challenge and expand the boundaries of leather as a traditional craft material.
