Right now, art enthusiasts and collectors alike could certainly use a moment of inspiration and a tangible treat. Finding a terrific piece of art jewelry for oneself while simultaneously celebrating and supporting the visionary artists and the dedicated galleries that showcase their talents offers a unique dual reward.
Art Jewelry Forum’s international gallery supporters continuously celebrate and exhibit the pinnacle of contemporary art jewelry. To highlight this vibrant community, the organization’s bi-monthly On Offer series allows an extensive network of international galleries to showcase extraordinary pieces personally selected to tempt, challenge, and inspire collectors. This latest October 2026 edition invites viewers to browse a curated selection where a fantastic piece that is impossible to live without is bound to be discovered.
Among the standout pieces featured in this installment is a striking creation by artist Heather Guidero, presented by Pistachios Contemporary Art Jewelry in Chicago, Illinois. Available for a retail price of US$1,695, the piece features a stunning lilac-colored druzy that sparkles with remarkable depth. Accompanied by handmade oxidized sterling silver tassels, this one-of-a-kind brooch delivers a great deal of kinetic movement when worn. Furthermore, because the design includes an integrated bail, this incredible piece can easily transition from a brooch to a pendant, offering versatile styling options for the wearer. Inquiries regarding this work can be directed to Meg Nash at the gallery.
Exploring the intersection of sculpture and adornment, the Wearable Art Museum highlights the work of artist duo 2Roses with their 2026 brooch titled Perch, priced at US$750. Known for creating small, one-of-a-kind sculptures built to be worn anywhere on the body, 2Roses pushes the boundaries of traditional adornment. Perch pairs two hollow forms covered in meticulously cut and finished polymer clay tesserae. As the wearer moves, the surface shimmers dynamically. One form is dark and closed, while the other is pale and open, tipped delicately against the first and held in a permanent state of tension and balance. The wearer ultimately completes the composition by deciding where on the body the piece is positioned and at what angle, ensuring that every placement recomposes the work by design. Lisa M. Berman serves as the contact for the museum.
Traveling to the Southern Hemisphere, Auckland, New Zealand’s Fingers Gallery presents a series of pendants by Becky Bliss titled Play Time, created in 2024 and priced at NZ$750 each. Bliss trained originally as a graphic designer before transitioning into a contemporary art jeweler, earning widespread acclaim and international exhibition selections, including the prestigious Schmuck special exhibition in Munich in 2015 and 2020. Fabricated from mild steel, sterling silver, paint, and cord, Play Time is described by the artist as a family of pieces that plays with color, forms, and gender. The works subvert expectations through endless combinations, demonstrating the fluidity of youth and the boundaryless expression of play. By anthropomorphizing the fundamental building blocks of child development—formalized in the early 1800s by kindergarten system founder Friedrich Froebel through a series of "gifts"—these works playfully engage with the geometric shapes of gift number two, namely circles, squares, and triangles. Lisa Higgins handles gallery inquiries for Fingers.
In the Netherlands, Galerie Door in Nijmegen features an untitled 2026 brooch by renowned artist Daniel Kruger, available for 2,000€. Kruger’s oeuvre frequently investigates the common threads uniting diverse materials such as shells, gemstones, plastic, relics, and fetishes, merging them into cohesive jewelry objects. His work is characterized as surprising, exuberant, mischievous, and seductive, inviting the viewer to linger and examine the details closely. By combining gemstones with everyday objects and traditional textile work with refined metalwork, Kruger achieves a striking dialogue where the sublime meets the mundane, the precious meets the cheap, and the classical meets kitsch. His jewelry draws the immediate attention of the eye to the neck, chest, hand, or ear, functioning simultaneously as an ornament, a talisman, a statement, or an irresistible object of joy. Doreen Timmers manages communications for the gallery.
Meanwhile, Zu design in Adelaide, Australia, presents a remarkable ring by Angela Giuliani titled Parti Sapphire, priced at AUS$8,615. The piece is part of the gallery’s stateMEANT exhibition, which brings together bold, thoughtful work that engages with social, political, or environmental themes, or speaks more quietly to materials, process, sustainability, and the realities of everyday life. Giuliani’s work explores structure, form, and geometry through precious metals and gemstones. Drawn to clean lines, simple shapes, and geometric balance, the artist views the making process as equally important as the finished object. Working primarily with sterling silver alongside yellow and rose gold, Giuliani incorporates parti sapphires not merely as decoration, but as an integral component designed to complement the architecture of the ring, resulting in a timeless piece meant to be cherished for years to come. Jane Bowden represents the gallery.
Nordic perspectives are represented by Four Gallery in Umeå, Sweden, which highlights Karin Seufert’s Necklace 539, crafted in 2026 from PVC and thread and priced at 1,700€ excluding VAT. Seufert’s latest creations grapple with abstract concepts like emptiness and time, utilizing the celestial sky as a framework for orientation. By depicting the sun as a flickering yellow circle, the moon in its shifting phases, and the stars in multifaceted forms, the artist translates the immaterial complexities of time into wearable sculpture. Karin Roy Andersson serves as the contact point for Four Gallery.
In the United States, Gravers Lane Gallery in Philadelphia presents an 18-karat yellow gold and sterling silver necklace by Naomi Kurita, priced at US$4,752. Kurita has maintained a focused philosophy centered around three guiding words for three decades: natural, simple, wearable. Born in Japan, her artistic journey took her from college in Denver to the Rhode Island School of Design, followed by apprenticeships with master craftsmen in New York. This timeless 15-inch necklace places the contrasting warmth of yellow gold against sterling silver, sitting close to the base of the neck in a testament to her refined, restrained aesthetic. Mia Chen manages inquiries for the gallery.
The Baltimore Jewelry Center in Maryland features Petite Wreath Studs by Liz Clark, created in 2023 from sterling silver and priced at US$175. Clark, who earned her BFA in crafts and material studies from Virginia Commonwealth University, maintains a part-time metal studio in Providence, Rhode Island, regularly exhibiting her work in galleries across the United States. J Diamond oversees gallery communications.
In London, Objects Beautiful presents The Other Shore #2, a 2022 brooch by Taiwanese artist Mei Fang Chiang, priced at £760 excluding tax. Based in Tainan, Chiang is celebrated for her mastery of anodized aluminum, utilizing studio-developed techniques that produce unique, vibrant coloration. Her work engages deeply with narratives concerning the coexistence of nature and the man-made. Characterized by originality and vibrant beauty, her brooches are notably lightweight and comfortable to wear, earning her a place in prestigious public collections such as Taiwan’s Gold Museum. Yael Reisner represents the gallery.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works showcases Kerianne Quick’s 2026 brooch, Well, It’s Not Up to Us, priced at US$650. Quick’s research is deeply rooted in craft practice as a cultural expression, emphasizing material specificity—a concept recognizing materials as active participants in meaning-making. The piece belongs to the Nevermind series of black-shrouded mirrors fashioned from vegetable-tanned leather, Plexiglas, and a nickel alloy pin. Referencing the historical mourning tradition of covering mirrors after a death, these obscured objects subvert traditional protective symbolism, turning the reflective gaze back onto the living to materialize complex emotions such as shame, culpability, despair, and helplessness. Brian Weissman is the gallery contact.
Galeria Tereza Seabra in Lisbon, Portugal, features Sugar Rush, a 2026 necklace by Catarina Silva, priced at 1,500€ plus shipping. The piece forms part of Silva’s solo exhibition Jardin d’agrément, presented during the third Lisbon Jewellery Biennial. The exhibition envisions a lush, utopian garden inspired by cross-cultural paradisiacal themes where humans, animals, and plants coexist harmoniously beyond hierarchy. Incorporating painted tin, leather, glass seed beads and flowers, embroidery, zinc, silver, and pearls, the necklace acts as a constellation of symbols—including apples, unicorns, and birds—evoking knowledge, fertility, and transformation. Tereza Seabra coordinates gallery communications.
At Heidi Lowe Gallery in Lewes, Delaware, artist Emily Cobb presents Floppy Flower, a 2026 assemblage priced at US$1,480. Fabricated from gold-plated brass ear nuts, surgical steel ear nuts, assorted deadstock stud earrings, and jump rings, the piece was specially created for the gallery’s ReJewelry exhibition hosted by the Radical Jewelry Makeover initiative. Kassadi Williams handles inquiries for the gallery.
Concluding the October selection, Galeria Reverso in Lisbon, Portugal, presents an untitled 2026 necklace by Manuel Vilhena, crafted from juniper, ebony, fine silver, cotton, coral, and steel, priced at 2,220€. Addressing the precarious dance between life and death—perhaps the most evident dichotomy of human existence—Vilhena’s work channels the narrative adventures of pirates, a notorious group of figures who daily defy mortality and live alongside death as a trusted partner. Paula Crespo serves as the contact for the gallery.
As noted by Art Jewelry Forum, the opinions stated in this showcase do not necessarily reflect those of the organization. Readers wishing to engage with the published articles in a thoughtful and polite manner are invited to submit letters to the editor electronically through the designated portal on the AJF website.
