Right now, art enthusiasts and collectors alike could certainly use a moment of indulgence. There is a profound satisfaction in acquiring a terrific piece of art jewelry for oneself while simultaneously celebrating and actively supporting the visionary artists and dedicated galleries that bring these works to light. Art Jewelry Forum’s international gallery supporters continuously champion the exhibition and appreciation of contemporary art jewelry, bridging the gap between creators and a global audience of admirers.
The organization’s bi-monthly On Offer series serves as a vital bridge within this extensive network, allowing international galleries to showcase extraordinary pieces personally selected to tempt, provoke, and inspire collectors. A careful look through the current catalog reveals a diverse array of exceptional designs, proving that discerning patrons are bound to find a fantastic piece they simply cannot live without. For those wishing to secure a work, inquiries and purchases are coordinated directly through the respective exhibiting galleries.
Among the standout pieces featured in this edition is Melanie Denis’s Vierge Reliquary for an Impossible Mother II, presented by the Heidi Lowe Gallery located in Lewes, Delaware, United States. Priced at a retail value of US$350, Denis created this compelling brooch specifically for the 2026 ReJewelry exhibition, a project hosted by the gallery through the Radical Jewelry Makeover initiative. Fabricated from an eclectic mix of sterling silver, steel, brass, plastic, Plexiglas, photography, ink, silk, a recycled fantasy jewel, and a physical relic, the piece measures 180 by 80 by 20 millimeters and is photographed by Madison Hoffman and Auriele Gould.
Crossing the Atlantic to Lisbon, Portugal, Galeria Tereza Seabra presents the work of Catarina Silva, highlighted by an untitled pendant created in 2026 and priced at €650 plus shipping. Measuring 50 by 35 by 8 millimeters with a 250-millimeter chain, the pendant is crafted from oxidized silver, coralline, and agate, with photography by Pedro Tropa. This piece represents Silva’s most recent output for her solo exhibition, Jardin d’agrément, which forms a prominent part of the third Lisbon Jewellery Biennial program. The exhibition imagines a lush, utopian garden inspired by paradise and the diverse pantheons of world cultures, where humans, animals, and plants coexist beyond traditional hierarchies in a shared ecology of reciprocity and wonder. Within this conceptual landscape, jewelry transforms into a living constellation of symbols—including apples, unicorns, flowers, birds, and Marian imagery—that collectively evoke knowledge, care, fertility, and transformation. At the heart of the project, the snake emerges not as a tempter, but as a guardian of wisdom, regeneration, and the continuous cycle of life. Rather than a lost Eden, the exhibition offers a poetic fiction that invites viewers to imagine new ways of inhabiting the world where coexistence is practiced daily.
In Brooklyn, New York, In the Gallery at Brooklyn Metal Works features the work of artist Kerianne Quick through the brooch titled A Denial, priced at US$550. Crafted from vegetable-tanned leather, Plexiglas, and a nickel alloy pin with dimensions of 5 by 3.25 by 0.75 inches, the piece is documented in photographs taken by the artist. Quick’s research is deeply rooted in craft practice as a cultural expression, paying meticulous attention to material specificity—a term defined in the artist’s master’s thesis to recognize materials as active participants in meaning-making. Through creative practice, Quick seeks to uncover overlooked and hidden stories by harnessing the embedded histories of materials. The black-shrouded "mirrors" from the Nevermind series, made from leather and Plexiglas, directly reference the Victorian mourning tradition of covering household mirrors after a death. However, rather than protecting the spirit of the deceased from its own reflection, these obscured mirrors turn the gaze relentlessly back toward the living, materializing complex emotions of shame, culpability, despair, and helplessness.
Moving northward to Umeå, Sweden, Four Gallery showcases the work of Karin Seufert with Brooch 534.24 l, priced at €700 excluding VAT. Created in 2026 from PVC, silver, and steel with dimensions of 69 by 56 by 24 millimeters, the brooch reflects the artist’s ongoing fascination with time and emptiness—concepts that are inherently complex, ever-changing, and immaterial. Because the sky serves as an essential tool for human orientation within time, with the sun dictating days, the moon marking longer phases, and stars enabling spatial navigation, Seufert’s latest works physically portray these celestial bodies. The sun appears as a flickering yellow circle, the moon is captured in its shifting phases, and the stars are rendered in multifaceted, intricate 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 before tax. Measuring 80 by 65 by 28 millimeters and constructed from aluminum and stainless steel wire, the piece exemplifies Chiang’s mastery of anodized aluminum. Working from her studio in Tainan, Taiwan, Chiang has developed proprietary techniques that allow her to utilize color in uniquely vibrant and luminous ways. Her narrative work engages deeply with the coexistence of nature and the man-made. An acclaimed artist whose creations are housed in notable public collections, including the Gold Museum in Taiwan, Chiang produces jewelry that is celebrated for being original, visually striking, exceptionally lightweight, and remarkably comfortable to wear.
Gravers Lane Gallery in Philadelphia, Pennsylvania, United States, features Naomi Kurita’s Silver Link Necklace from 2025, priced at US$3,080. Fabricated entirely in sterling silver with a length of 26 inches and photographed by Rachael Forbes, the necklace embodies a quiet precision that has defined Kurita’s three-decade career. Operating on the principle that a simple chain leaves nowhere to hide—where every individual link matters in terms of proportion, join, movement, and how it rests against the next—Kurita creates pieces designed to fall well below the collarbone. Alongside her primary collections, Kurita specializes in redesigning settings around clients’ personal precious stones, giving inherited or long-held gems new life. This bespoke service stems from her enduring conviction that jewelry should remain natural, simple, and crafted to be worn across a lifetime.
At the Wearable Art Museum, director Lisa M. Berman presents Andrea Ortiz’s Offering a Gem, a 2001 necklace priced at US$1,200, created during the artist’s graduate studies at the Savannah College of Art and Design (SCAD). Hailing from Colombia, Ortiz uses coffee beans, bronze, and brass to address the harsh realities, human rights violations, and difficult working conditions faced by coffee bean workers in her native country. Measuring 180 by 230 by 10 millimeters, this bespoke necklace was curated by Berman to appear alongside Max Alexanders’s Coffee Bean dress for the New York Times in 2024. Ortiz has earned four International Design Awards (IDA) since her graduation, and the museum’s owner has committed to offering the piece for institutional loan requests upon exhibition inquiry.
Pistachios Contemporary Art Jewelry in Chicago, Illinois, United States, highlights the work of Mexican jeweler, enameler, and researcher Esteban Erosky, who is currently based in Madrid, Spain. His brooch, And I Dreamed That I Would Be Happy, is priced at US$1,495 and measures approximately 3.75 by 1.5 inches, constructed from hand-painted enamel on copper, glass beads, nickel silver, and steel wire, with photography provided by Pistachios. Having studied across multiple countries, Erosky specializes in classical enameling techniques while adapting them to address contemporary social, human, and gender issues, persistently claiming individual freedom. Despite exploring painful or challenging themes, his brooches function as short stories conveyed through a playful, illustrative visual language.
In Adelaide, Australia, Zu design presents a statement ring by Angela Giuliani titled Sapphire and Diamond, priced at AUS$7,300. Created in 2026 using sapphires, a cognac diamond, nine-karat yellow gold, and sterling silver, the ring is a finger size N with a top dimension of 16 by 23 millimeters and a total height of 32 millimeters from base to top, photographed by Jane Bowden. The piece is part of stateMEANT, a contemporary jewelry exhibition that invited participating artists to write extensive statements regarding their practice, processes, and the ideas behind their work. The exhibition brings together bold, thoughtful pieces designed to communicate social, political, or environmental concerns, or to speak more quietly about material integrity, sustainability, and everyday life. Giuliani notes that her work explores structure, form, and geometry through precious metals and gemstones, emphasizing clean lines, balanced geometric design, and meticulous craftsmanship where the making process is just as significant as the final object.
Galerie Door in Nijmegen, Netherlands, features an untitled 2025 necklace by Daniel Kruger, priced at €4,200. Measuring 94 by 94 by 18 millimeters, the necklace is constructed from glass vials containing Hindu ritual pigments, pearls, glass flowers, and silver, with photography courtesy of the artist. Kruger’s approach is characterized by an exuberant, mischievous, and seductive juxtaposition of materials, combining elements as disparate as shells, gemstones, plastic, relics, and fetishes into unified compositions. By merging traditional textile work with refined metalwork, Kruger bridges the sublime with the mundane, the precious with the cheap, and the classical with the kitsch. His jewelry draws the eye toward the neck, chest, hand, or ear, functioning simultaneously as an ornament, a talisman, a personal statement, or an irresistible object intended to bring joy.
Fingers Gallery in Auckland, New Zealand, showcases Jane Dodd’s 2026 brooch A Night Out, priced at NZ$1,750. Measuring 73 by 33 by 22 millimeters, the brooch is fabricated from ebony, bone, sterling silver, marcasite, and spessartite garnet, with photography by Michael Couper. Based in Dunedin, Dodd is widely admired for her exceptional technical craftsmanship across mixed gold alloys, silver, bone, wood, and shell. Her recent practice focuses heavily on the portrayal of animals, using the natural world as a lens to explore subtexts of human impact, interaction, extinction, infestation, cruelty, and conflict. Heavily influenced by historic European craft traditions while remaining acutely mindful of the environmental plunder that historically enabled such ornate work, Dodd channels these contradictory emotions into pieces charged with tension, humor, and intellectual intrigue.
The Baltimore Jewelry Center in Baltimore, Maryland, United States, presents April Wood’s Circle Fern Hoops, a pair of earrings priced at US$160. Created in 2023 from steel and sterling silver with dimensions of 1.5 by 2.5 by 0.125 inches and photographed by J Diamond, the earrings reflect Wood’s extensive background as a metalsmith, sculptor, and jeweler. Wood earned her BFA from Texas State University and her MFA from Towson University, and she serves as a co-founder and instructor at the Baltimore Jewelry Center. Having taught at numerous prominent institutions nationwide, Wood’s sculptural metalwork has been featured in leading craft publications and exhibited 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, features an untitled 2026 brooch by Manuel Vilhena, priced at €2,730. Measuring 150 by 120 by 30 millimeters, the brooch is constructed from juniper, tourmaline, 18-karat gold, steel, and cotton, with photography by Eduardo Ribeiro. Describing the conceptual foundation of the work, Vilhena notes that among all human dichotomies, the precarious dance between life and death remains the most evident, explored here through the lens of notorious pirates who daily defy mortality and embrace it as a partner.
Finally, Thereza Pedrosa Gallery presents an untitled 2025 brooch by Ela Bauer, priced at €1,340. Measuring 125 millimeters in diameter and made from resin, pigments, organic material, and an aluminum pin, the brooch represents a pivotal moment in Bauer’s artistic practice, marking a clear evolution from her acclaimed two-dimensional works toward a new sculptural, three-dimensional language. Rather than simply expanding her earlier vocabulary, the piece opens an expansive field of spatial and material exploration. This significant artistic shift received international acclaim when Bauer was awarded the prestigious Herbert Hofmann Prize at Schmuck 2026, solidifying the importance of this new trajectory within her ongoing creative research.
