Commissions

for collectors

For collectors who wish to commission pieces in archival materials — solid gold in higher karats, platinum, natural untreated gemstones of specific origin, antique stones with their own history, hand-engraved inscriptions, or bespoke configurations — these executions are made privately.

Each commission is a conversation. Materials are chosen together. Stones are sourced for the specific piece. Timelines move on the materials' pace.

Off-catalogue pieces are not listed, not displayed, and not part of standard production. Pricing is set per commission and communicated privately. Each piece is the only one of its kind, and the conversation with its maker is part of what is being received.

HOW IT WORKS

I. INQUIRY

You send a brief note describing what you have in mind — a specific piece, a material, a stone, a configuration, or simply a question about whether what you are imagining is possible. The inquiry form below is short. The conversation begins by email.

II. CONVERSATION

We respond within two (2) business days. The first response is from a person, by name. From there, the conversation proceeds privately. Materials are discussed. Stones are sourced. Sketches and references may be exchanged. There is no rush at this stage — most commissions take several weeks of dialogue before they are formally agreed.

III. AGREEMENT

When the design is settled, we prepare a written commission agreement — a one-page document that names the piece, the materials, the timeline, the pricing, and the deposit. A deposit of typically 50% is required before production begins. The remaining balance is paid before shipment.

IV. CRAFTING

Each commission is hand-crafted in our workshop, one piece at a time. Timelines are set by the materials and the work involved — sometimes weeks, sometimes months, occasionally longer for rare materials or particularly intricate work. You will be kept informed at each stage. Photographs of the work in progress are sent when meaningful moments occur.

V. DELIVERY

The finished piece is hand-finished, photographed for our private archive, and delivered to you. Each commission ships with documentation — a Certificate of Authenticity describing the piece in full, signed and dated, kept on permanent record in the ELIZA ledger.

What is possible and what's not

Most of what a collector might imagine, we can make.

The pieces in the public collection can be commissioned in any of our archival material configurations. New pieces — designs that do not exist in any current collection — can also be commissioned, provided the design fits within the aesthetic and material discipline of the world we are building.

We work in solid gold from 14k through 22k, in single or multi-tone configurations. We work in platinum. We source natural untreated gemstones — rubies, sapphires, emeralds, diamonds, and certain rarer stones with documented provenance. We work with antique and reclaimed stones when the buyer brings them or when we can source them with a credible chain of history. We engrave by hand, in scripts of the buyer's choosing.

We do not produce branded merchandise or commercial commissions of any kind. We do not work to extremely short timelines — if you need a piece in less than four weeks, this is not the practice for that request. We do not commission pieces whose configuration falls outside what we can defend as the work of this house. We will tell you honestly if what you are imagining is not something we can make well.

On pricing

Commission pricing is set per piece and is not published.

Commissions begin at €6,000, depending on materials and complexity. The price reflects the materials selected (which we will source and quote transparently), the time involved in design and production, and the work of the people whose hands are making it.

When the design is settled, the price is named clearly in writing, before any commitment is made. We do not negotiate beyond the quoted price — we price honestly the first time.

A note

When I began this work, I had two ideas about how it should function.

The first was that the public collection should be beautiful, well-made, and accessible to anyone who recognized something in it. That collection is the one most readers will know me for, and it is where most of what I make will continue to live.

The second was that there should be a smaller, quieter practice for the people who wanted to commission something more — in materials I could not justify at the public price point, in configurations the catalogue could not hold, or in pieces that did not exist anywhere yet.

Both practices are mine. I am personally involved in every commission, from the first email to the final hand-finishing of the piece. The conversation with you is not delegated. The decisions about your piece are not made by anyone but me.

If you are considering reaching out, I would be glad to hear from you.

— Jona, Founder of Eliza