Alexander Calder's jewelry is an exquisite extension of his artistic vision, bringing the same innovative spirit and geometric abstraction that define his mobiles and stabiles into the intimate realm of wearable art. Calder began making jewelry in the early 20th century, initially creating pieces for his sister's dolls. It wasn't until he was in his late twenties that he revisited jewelry-making seriously, during his time in Paris where he was immersed in the avant-garde art scene. His work in jewelry, much like his sculptures, was deeply personal and often made as unique gifts for family and friends, incorporating found objects and eschewing traditional jewelry-making techniques like soldering for direct manipulation of metal​ (Artsy)​​ (Art Jewelry Forum)​​ (Phillips)​.

Calder's jewelry pieces were more than mere adornments; they were intimate sculptures meant to be lived in and interacted with. He viewed the human body as another canvas or form on which to hang his creations, emphasizing movement and adding another layer of engagement to his art. Calder's jewelry included brooches, necklaces, earrings, and even buttons, often marked by the use of simple yet bold forms, hammered metal, and the integration of unconventional materials like broken glass or extracted teeth. Each piece was a one-of-a-kind creation, with Calder refusing offers to mass-produce his designs, insisting on the uniqueness and personal touch of each piece​ (Artsy)​.

Notable figures like Peggy Guggenheim, Mary Rockefeller, and Georgia O’Keeffe were among those who cherished Calder's jewelry, wearing his creations as statements of avant-garde fashion and artistic expression. Calder's jewelry pieces, such as the delicate Cape Clasp and the Six Circles brooch, exemplify his skill in creating intricate yet abstract forms that are both visually striking and deeply meaningful, demonstrating his mastery of balance and form on a miniature scale​ (Artsy)​​ (Phillips)​.