The Case of Moshe Oved
Agata Lipczik
a.lipczik@gmail.comInstytut Sztuki PAN (Poland)
https://orcid.org/0000-0002-7433-456X
Abstract
An attempt to characterise the artistic output of Moshe Oved (1885–1958). Born in the then Płock Governorate, this renowned antiquarian was one of the key figures within the artistic community of the Jewish population in London during the first half of the 20th century. Known primarily as a specialist in antique jewellery, he actively participated throughout most of his life in initiatives promoting the work of Jewish artists and was one of the co-founders and later the most active members of the Ben Uri society. In addition to intensive efforts to develop Yiddish culture, Moshe Oved first gained recognition as a poet and subsequently as an artist. His earliest works were jewellery pieces: stylised rings in zoomorphic forms, often adorned with engraved inscriptions of a poetic nature. After the war, Oved also created distinctive sculptures that clearly referred to Jewish mysticism and sometimes, as in the case of a series of six-branched candelabra, served to commemorate the victims of the Holocaust. The article highlights the parallel nature of Oved’s sculptural and literary work, whose common denominator was his deep, internal spiritual experience.
Supporting Agencies
Keywords:
Moshe Oved, Yiddish, sculpture, jewellery, Cameo CornerReferences
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Authors
Agata Lipczika.lipczik@gmail.com
Instytut Sztuki PAN Poland
https://orcid.org/0000-0002-7433-456X
Agata Lipczik – historyczka sztuki, doktorka nauk humanistycznych, adiunktka w Pracowni Rzemiosła Artystycznego i Designu IS PAN. Zajmuje się badaniami nad polską sztuką użytkową XIX i 1. połowy XX wieku, ze szczególnym uwzględnieniem biżuterii. Opublikowała książkę Jubilerstwo w międzywojennej Warszawie. Rzemiosło – ludzie – biżuteria (2021).
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Copyright (c) 2025 Agata Lipczik
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