Arabesque Plaque Ring with Magenta Stone

Specs

Care

Dry polishing cloth only. No silver dip — it strips the oxidation and attacks the copper. Copper patina is normal and can be polished back.

Motif

Rumi arabesque scrollwork

Stone

Faceted magenta stone

Style

East-west plaque ring

Finish

Oxidised silver ground, copper relief

Gender

Unisex

Origin

Handmade in Cappadocia, Turkey

Material

925 sterling silver with copper scrollwork

Shoulders

Copper crescents, bead-pinned

Face Shape

Rectangular, worn across the finger

Metal Purity

925 sterling silver

Stone Setting

Closed bezel with beaded surround

Accent Material

Solid copper

Highlights

• Solid 925 sterling silver plaque, band and beadwork, nickel-free
• Copper arabesque scrollwork in relief across the whole panel
• Faceted magenta stone, bezel-set inside its own ring of beads
• Border of small silver beads framing all four sides of the plaque
• Two copper crescents at the shoulders, each pinned with a round bead
• Oxidised black ground so the copper relief and its shadows read clearly
• Set east-west — the long face lies across the finger
• Solid copper, not plating — it patinas instead of wearing through
• Handmade in our Cappadocia workshop, Turkey — each piece slightly unique
• Arrives in a Sapheen gift box with a care card

Made by Sapheen

Description

A rectangular plaque worn across the finger, filled edge to edge with copper scrollwork in relief — split leaves and stems curling back on themselves against an oxidised black ground. A faceted magenta stone sits low on the right of the panel, ringed by its own circle of small beads, and a border of silver beads runs the whole way around the plaque like stitching. The scrollwork belongs to the family Turkish decorative art calls rumi: a stylised split leaf that turns and doubles back so the pattern reads as continuous growth with no obvious start. Cast flat it would look like wallpaper. Raised in copper against a blackened ground it behaves differently — every curl throws a shadow, and the panel changes as the hand moves. The stone is the only colour in the piece, and it is placed off-centre on purpose. Set in the middle it would have halved the panel and stopped the scroll dead; set low and to one side it works as a full stop the eye arrives at after following the pattern, which is how a jewel sits in Ottoman metalwork rather than how a solitaire sits in a modern ring. Two curved copper crescents flank the plaque, one on each shoulder, each pinned with a single round bead. They are structural as much as decorative: they brace the long panel where it meets the band and give the ring its silhouette from the side, which is the angle a big east-west face is usually seen from. Underneath, the shank is sterling silver, oxidised to match the ground of the panel so nothing competes with the copper. Two metals and a stone, all set by hand in our Cappadocia workshop. The copper will deepen to a warmer brown with wear — that patina is why we use solid copper rather than a plated finish — and a copper-safe polish returns it to bright whenever you prefer the scroll sharp.