Right now, art enthusiasts and collectors everywhere could certainly use a moment of tactile joy and visual inspiration. There is a distinct, grounding satisfaction 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 extensive network of international gallery supporters is once again stepping forward to champion the field with the latest installment of its bi-monthly On Offer series. This ongoing digital showcase allows galleries from across the globe to present extraordinary pieces that have been personally selected to tempt, provoke, and inspire collectors. A quick browse through this international curation reveals a stunning array of wearable art, ensuring that discerning buyers are bound to find a fantastic piece they simply cannot live without. For those wishing to acquire or inquire about any of the works featured, interested parties are invited to contact the respective galleries directly.
Kicking off this month’s selection is the Heidi Lowe Gallery, located in Lewes, Delaware, in the United States. The gallery presents a compelling brooch by artist Melanie Denis titled Vierge Reliquary for an Impossible Mother II, created in 2026. Priced at US$350, this intricate piece was specifically made for the ReJewelry exhibition organized by Radical Jewelry Makeover and hosted by the gallery. Denis has fabricated the brooch using a remarkably diverse palette of materials, including sterling silver, steel, brass, plastic, Plexiglas, photography, ink, silk, a recycled fantasy jewel, and a physical relic, resulting in a miniature sculptural monument measuring 180 by 80 by 20 millimeters. Inquiries regarding this work can be directed to Kassadi Williams at the Heidi Lowe Gallery.
Crossing the Atlantic to Lisbon, Portugal, Galeria Tereza Seabra presents a striking pendant by Catarina Silva, simply titled Untitled (2026). Crafted from oxidized silver, coralline, and agate, the pendant measures 50 by 35 by 8 millimeters and is suspended from a 250-millimeter chain. Available for 650 euros plus shipping, this work represents Silva’s most recent creative output for her solo exhibition Jardin d’agrément, which forms part of the official program of the third Lisbon Jewellery Biennial. The exhibition poetically imagines a lush, utopian ecosystem inspired by paradise and mythological gardens across various cultures, where humans, animals, and plants coexist in harmony beyond traditional hierarchies. Within this visionary landscape, jewelry serves as a living constellation of symbols—incorporating apples, unicorns, flowers, birds, and Marian imagery to evoke knowledge, fertility, care, and transformation. At the conceptual heart of the presentation is the snake, reinterpreted not as a tempter, but as a guardian of wisdom, regeneration, and the eternal cycle of life. Rather than mourning a lost Eden, Silva’s work offers a poetic fiction that challenges viewers to imagine new ways of inhabiting the world, positioning coexistence not merely as an ideal, but as a living, wearable practice. Gallery director Tereza Seabra is handling inquiries for this piece.
Moving to Brooklyn, New York, In the Gallery at Brooklyn Metal Works features the work of artist Kerianne Quick. Known for an academic and creative research practice rooted in craft as a cultural expression, Quick focuses heavily on "material specificity"—a term coined in their master’s thesis to describe materials as active participants in meaning-making. By drawing upon the embedded histories of raw substances, Quick seeks to unearth overlooked narratives and create profound cultural impact. On offer is A Denial (2026), a brooch measuring 5 by 3 1/4 by 3/4 inches, fabricated from vegetable-tanned leather, Plexiglas, and a nickel alloy pin, offered at a retail price of US$550. This piece belongs to the Nevermind series of black-shrouded "mirrors," which directly reference historical mourning traditions of covering domestic mirrors following a death. Rather than shielding the spirit of the deceased from its own reflection, however, Quick’s obscured mirrors intentionally turn the gaze back toward the living, materializing complex emotions such as shame, culpability, despair, and helplessness. Brian Weissman is managing inquiries at Brooklyn Metal Works.
In Umeå, Sweden, Four Gallery presents Brooch 534.24 l (2026) by renowned artist Karin Seufert. Priced at 700 euros excluding VAT, the brooch measures 69 by 56 by 24 millimeters and is constructed from PVC, silver, and steel. Seufert’s latest body of work grapples with the elusive nature of time and emptiness, noting that time is inherently complex, ever-changing, and immaterial. Utilizing the celestial sky as a timeless tool for human orientation, Seufert’s pieces pay homage to heavenly bodies—translating the sun into a flickering yellow circle, the moon into its shifting phases, and the stars into multifaceted metallic forms. Karin Roy Andersson is the primary contact for Four Gallery.
London’s Objects Beautiful gallery brings forward the work of Taiwanese art jeweler Mei Fang Chiang, based in Tainan. On offer is The Other Shore #17 (2022), a brooch measuring 80 by 65 by 28 millimeters, expertly crafted from aluminum and stainless steel wire. Priced at £760 excluding tax, Chiang’s work exemplifies her mastery of anodized aluminum, a medium she manipulates through proprietary studio techniques that allow for breathtaking, unique applications of color. Her creative narratives center on the delicate coexistence between the natural world and man-made structures. An acclaimed artist whose creations are held in prominent public collections, including Taiwan’s Gold Museum, Chiang produces jewelry that is celebrated for being remarkably original, visually arresting, exceptionally light, and comfortable to wear. Gallerist Yael Reisner is overseeing inquiries for the gallery.
In the United States, Philadelphia’s Gravers Lane Gallery highlights the meticulous craftsmanship of Naomi Kurita with her Silver Link Necklace (2025). Fabricated entirely from sterling silver and measuring 26 inches in length, this layered chain work is available for US$3,080. Operating on the principle that a simple chain leaves nowhere to hide—where every single link, its proportions, its joins, and its articulation matter profoundly—Kurita has dedicated a three-decade career to this quiet precision. Alongside her signature production lines, Kurita specializes in redesigning settings for clients’ personal precious stones, breathing new life into inherited heirlooms. Her overarching conviction remains steadfast: that true jewelry should feel natural, maintain simplicity, and be crafted to endure for a lifetime. Mia Chen is the contact point at Gravers Lane Gallery.
The Wearable Art Museum presents a historic and socially poignant piece by Colombian artist Andrea Ortiz: Offering a Gem (2001), a necklace fashioned from coffee beans, bronze, and brass, measuring 180 by 230 by 10 millimeters. Priced at US$1,200, this remarkable work originated from Ortiz’s Linking Realm series, created as part of her graduate thesis at SCAD. The piece boldly addresses the harsh realities and human rights struggles faced by coffee bean workers in her native Colombia, highlighting unacceptable labor conditions through wearable sculpture. Lisa M. Berman, director of the museum, 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 IDA awards since her graduation, Ortiz’s work carries both profound conceptual weight and institutional backing, with the museum owner explicitly committing to loan the piece for future exhibition requests.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, features the work of Mexican jeweler, enameler, and researcher Esteban Erosky, who is currently based in Madrid, Spain. Erosky has studied internationally, refining classic enameling techniques and adapting them to address contemporary social, human, and gender issues while fiercely advocating for individual freedom. Despite exploring inherently heavy and painful themes, his brooches function as concise short stories told through a playful, vibrant visual language. His hand-painted enamel on copper brooch, And I Dreamed That I Would Be Happy, which also incorporates glass beads, nickel silver, and steel wire, measures approximately 3 3/4 by 1 1/2 inches and is offered at a retail price of US$1,495. Meg Nash is handling inquiries for Pistachios.
In Adelaide, Australia, Zu design presents an exquisite ring by Angela Giuliani titled Sapphire and Diamond (2026). Crafted from sapphires, a cognac diamond, 9-karat yellow gold, and sterling silver, the ring is sized at finger size N, featuring a top element measuring 16 by 23 millimeters and standing 32 millimeters from base to top. Priced at AUS$7,300, the work is part of Zu design’s exhibition stateMEANT, which invited participating artists to provide written statements exploring their practice, processes, and the conceptual underpinnings of their bold creations. Giuliani’s statement notes that her work explores structure, form, and geometry through precious metals and gemstones, driven by an affinity for clean lines, simple shapes, and balanced design. For Giuliani, the making process holds equal weight to the finished object, utilizing gemstones not merely as surface decoration, but as an integral, colorful component of timeless, thoughtfully constructed jewelry designed for lasting personal connection. Jane Bowden is managing communications for the gallery.
Galerie Door in Nijmegen, Netherlands, highlights the whimsical and subversive work of Daniel Kruger with his Untitled necklace (2025). Measuring 94 by 94 by 18 millimeters, the necklace is constructed from glass vials containing Hindu ritual pigments, pearls, glass flowers, and silver, and is available for 4,200 euros. Kruger’s art jewelry is known for being surprising, exuberant, mischievous, and thoroughly seductive, effortlessly blurring the boundaries between high and low culture. By combining disparate elements—shells, gemstones, plastics, relics, and fetishes—Kruger forces the sublime to meet the mundane, the precious to encounter the cheap, and the classical to embrace kitsch. Whether functioning as an ornament, a talisman, or a bold personal statement, Kruger’s work is designed to draw the eye and bring enduring joy to the wearer. Doreen Timmers is the contact for Galerie Door.
Fingers Gallery in Auckland, New Zealand, features A Night Out (2026), a brooch by contemporary jeweler Jane Dodd based in Dunedin. Fabricated from ebony, bone, sterling silver, marcasite, and spessartite garnet, the brooch measures 73 by 33 by 22 millimeters and retails for NZ$1,750. Dodd is widely admired for her exceptional technical craftsmanship, utilizing varied gold alloys, silver, bone, wood, and shell. In recent years, her practice has centered heavily on the depiction of animals, exploring complex subtexts involving human impact, extinction, infestation, cruelty, and conflict. Heavily influenced by historic European craft traditions while remaining sharply mindful of the environmental plunder that historically enabled such exuberant craftsmanship, Dodd channels these contradictory emotions into works characterized by tension, dark humor, and narrative intrigue. Lisa Higgins is managing inquiries at Fingers Gallery.
In Baltimore, Maryland, the Baltimore Jewelry Center presents the Circle Fern Hoops (2023) by co-founder, metalsmith, and sculptor April Wood. Fabricated from steel and sterling silver, these earrings measure 1 1/2 by 2 1/2 inches and are available for US$1,600. Wood, who earned her BFA from Texas State University and her MFA from Towson University, is a prominent educator who currently teaches at the Baltimore Jewelry Center and has previously instructed at institutions including the Maryland Institute College of Art, the Corcoran College of Art and Design, and the Penland School of Crafts. Her sculptural and jewelry works have been featured in publications such as Metalsmith, Surface Design Journal, and Sculpture, with an extensive exhibition history that includes a solo show at the Austin Museum of Art and appearances at the SIERAAD International Art Jewelry Fair in Amsterdam. J Diamond is the contact point for the Baltimore Jewelry Center.
Galeria Reverso in Lisbon, Portugal, features an untitled brooch by Manuel Vilhena (2026). Measuring 150 by 120 by 30 millimeters, the piece is fabricated from juniper, tourmaline, 18-karat gold, steel, and cotton, and is priced at 2,730 euros. Describing the conceptual foundation of the work, Vilhena notes that among all the dichotomies humans must navigate, the most evident is the precarious dance between life and death. In this piece, that existential theme is explored through the lens of a notorious gang of pirates—figures who routinely defy mortality and live alongside death as an everyday partner. Paula Crespo is handling communications for Galeria Reverso.
Finally, Thereza Pedrosa Gallery presents an untitled brooch by Ela Bauer (2025). Measuring 125 millimeters in diameter, the piece is constructed from resin, pigments, organic material, and an aluminum pin, and is available for 1,340 euros. This brooch marks a pivotal turning point in Bauer’s artistic practice, signifying a decisive shift away from the powerful two-dimensional works that initially defined her career toward a bold new three-dimensional sculptural language. Rather than simply extending her previous vocabulary, the work successfully pioneers an uncharted field of spatial and material exploration. This significant developmental leap received major international recognition when Bauer was awarded the prestigious Herbert Hofmann Prize at Schmuck 2026, solidifying the importance of this new trajectory within her ongoing artistic research. Inquiries are being managed directly by Thereza Pedrosa.
