The Hare With Amber Eyes

Edmund de Waal

51 pages 1-hour read

Edmund de Waal

The Hare With Amber Eyes

Nonfiction | Biography | Adult | Published in 2010

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Part 2Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of racism, religious discrimination, and death.

Part 2: “Vienna 1899- 1938”

Part 2, Chapter 12 Summary: “Die Potemkinische Stadt”

In March 1899, the netsuke were delivered to the Palais Ephrussi in Vienna, located at the corner of the Ringstrasse and the Schottengasse, opposite the University of Vienna. Emperor Franz Josef had ordered the construction of the Ringstrasse to reflect the glory of the Austrian Empire. The grand boulevard circled Vienna’s historic center and featured many monumental buildings, including the Town Hall and the Reichsrat (Parliament). At the turn of the 19th century, Vienna had one of Europe’s largest Jewish populations. The Ringstrasse became known as Zionstrasse because Jewish industrialists and financiers mainly inhabited it.


After almost a year of researching Charles Ephrussi, de Waal visits Vienna. He finds that the Palais, built in the classical style, has become the headquarters of a casino. The author is struck by the building’s size and abundance of gold gilding.

Part 2, Chapter 13 Summary: “Zionstrasse”

The interior of the Palais Ephrussi is a profusion of black marble and gold, with many classical statues. De Waal is pleasantly surprised when he reaches the ballroom and sees scenes from the Book of Esther featuring the Jewish people’s triumphs painted on the ceiling.

Part 2, Chapter 14 Summary: “History as it Happens”

Baron Ignace von Ephrussi, the first owner of the Palais Ephrussi, was one of the wealthiest bankers in Vienna. He trained his eldest son, Stefan, in the workings of the family business from a young age. Ignace’s younger son, Viktor (de Waal’s great-grandfather), was scholarly and passionate about history.


Antisemitism was often overt in Vienna. Jewish students were frequently persecuted at the university, and the politician Georg von Schönerer (founder of the Austrian Reform Meeting) held anti-Jewish demonstrations on the Ringstrasse. Meanwhile, Dr Karl Lueger of the Christian Social Party became Mayor in 1897 and argued that wealthy Jewish families, such as the Ephrussis, should be “put in their place” (154). However, the Austrian Emperor, Franz Joseph I, defended his Jewish subjects, vowing to protect them against racial hatred.


In 1889, Stefan eloped with his father’s mistress and was consequently disinherited. Viktor was expected to fill the void left by his brother and had to quickly learn about the family business as he took over its management. In 1899, at age 39, Viktor married 18-year-old Emmy Schey von Koromla. He was in love with his beautiful new bride, but she did not return his feelings. From the beginning of her marriage to Viktor, Emmy took lovers, but no evidence suggests that Viktor did the same. Soon after the wedding, Ignace died, leaving Viktor the Palais and the bank, Ephrussi & Co.

Part 2, Chapter 15 Summary: “A Large Square Box Such as Children Draw”

Emmy and her younger siblings (Pips, Eva, and Gerty) grew up in Palais Schey in Vienna. They spent their summers at Kövesces, the family’s country house in Czechoslovakia.

Part 2, Chapter 16 Summary: “Liberty Hall”

Viktor and Emmy had three children: Elisabeth, Gisela, and Ignace (Iggie). While their primary residence was the Palais Ephrussi, the family often visited Viktor’s cousin, Jules, and his wife, Fanny, in Switzerland, and also spent time at Kövesces. The laws and customs surrounding Jewish assimilation were contradictory. Victor was a member of the Jockey Club in Vienna, but the law prevented him from holding office. Meanwhile, Gentile married women did not visit Emmy, despite her wealth and social status. Charles Ephrussi died in 1905 at age 55. His brother Ignace died shortly afterward, and both brothers were buried in the Ephrussi tomb in Montmartre.

Part 2, Chapter 17 Summary: “The Sweet Young Thing”

Elisabeth von Ephrussi (de Waal’s paternal grandmother) wrote a memoir detailing her daily life in the Palais and describing its rooms. Consequently, de Waal knows that the vitrine containing the netsuke was in Emmy’s dressing-room, where she spent much time. De Waal tries but fails to imagine Viktor sitting in the dressing room with Emmy and handling the netsuke.

Part 2, Chapter 18 Summary: “Once Upon a Time”

Elisabeth von Ephrussi was serious and clever, and studied hard, determined to go to the University of Vienna. Gisela and Iggie shared an interest in clothes. The children spent time with their mother while she was dressing and played with the netsuke.

Part 2, Chapter 19 Summary: “Types of the Old City”

Emmy often entertained her children by inventing stories about the netsuke.

Part 2, Chapter 20 Summary: “Heil Wien! Heil Berlin!”

On June 28, 1914, the assassination of Archduke Franz Ferdinand, heir to the Habsburg Empire, catalyzed World War I. Germany supported Austria-Hungary’s declaration of war on Serbia and declared war on Russia. Germany’s invasion of Belgium prompted France and Britain to ally against the German Kaiser. Austrian Jews conspicuously supported the war effort to demonstrate their patriotism. However, Viktor privately worried, and Emmy feared that the family was “on show” in the Palais. They reminded their children to speak only German when they went out. At 54, Viktor was exempt from war service, but most of the family’s servants enlisted, and Emmy’s brother, Pips, became an officer with the German high command. Viktor’s friends advised him to transfer his money to Switzerland. However, he felt that this would be unpatriotic and bought many government war bonds. During the war years, Viktor’s eldest cousin, Jules Ephrussi, died.


When World War I ended in November 1918, the Austro-Hungarian Empire was dissolved, and Austria became a small republic. The same month, Emmy gave birth to a son, Rudolf Josef. Meanwhile, Elisabeth enrolled at the University of Vienna.

Part 2, Chapter 21 Summary: “Literally Zero”

In the aftermath of the war, Austria’s economy collapsed, and antisemitic sentiment grew. Before the war, Viktor had owned a fortune equivalent to $400 million in today’s currency. However, his decision to keep his money in Austria proved disastrous, as his bonds and shares were now worthless. Furthermore, his other assets in London and Paris were confiscated under Austria’s “punitive” postwar settlement. His financial plight forced him to sell half of his shares in Ephrussi & Co.

Part 2, Chapter 22 Summary: “You Must Change Your Life”

Elisabeth studied philosophy, law, and economics at the University of Vienna. She was also passionate about poetry, particularly the work of Rainer Maria Rilke. She and the Austrian poet began a correspondence that continued until his death.

Part 2, Chapter 23 Summary: “Eldorado 5-0050”

In 1924, Elisabeth was the first woman to receive a doctorate in law from the University of Vienna. Gaining a Rockefeller Scholarship, she then traveled to the US. Elisabeth eventually married a Dutchman, Hendrik (“Henk”) de Waal, and the couple lived in Paris, where they had two sons, Victor (the author’s father) and Constant Henrik. When Henk experienced significant investment losses, Elisabeth refused to return to Vienna and took the children to live in a farmhouse in the Italian Tyrol. Henk remained in Paris trying to recoup his losses.


Gisela left Vienna when she married Alfredo Bauer, a Spanish banker from a wealthy Jewish family, and moved to Madrid. Although Iggie disliked math, he complied with Viktor and Emmy’s plan for him to study finance at Cologne University. After graduating, he began working at a bank in Frankfurt. However, when Hitler was appointed German Chancellor in 1933 and set up detention camps in Dachau, his parents urged him to return to Vienna. Iggie fled to Paris, taking a poorly paying job as a fashion designer. He then moved to New York, where he became part of the gay community.


In 1934, the Austrian Chancellor was assassinated, and a Nazi uprising was narrowly averted. The new Chancellor, Kurt Schuschnigg, arranged a plebiscite in which the Austrian people could vote for independence from the increasingly powerful Nazi Reich. By this time, Emmy was middle-aged and had a heart condition. Viktor, in his seventies, was building a collection of early books on Roman history.

Part 2 Analysis

In Part 2, de Waal’s research brings him closer to his direct ancestors. He learns that his great-grandparents, Viktor and Emmy von Ephrussi, became the new owners of the netsuke, and the author’s research thus establishes their symbolic importance. As the narrative shifts to early 20th-century Vienna, the book’s tone becomes increasingly uneasy. Upon first visiting the Palais Ephrussi, the author observes, “I cannot escape gold” (131), implying that he finds its opulence excessive. The black marble and gold interior embodies the Ephrussi family’s material success, emphasizing gold as a motif in the memoir, yet the building’s conformity to Imperial Viennese ideals also suggests their eagerness to fit in and obscure their origins. De Waal notes the scenes from the Book of Esther painted on the ballroom’s ceiling because they stand out as the only trace of the family’s Jewish cultural heritage, thematically emphasizing Art and Collecting as Identity-Making Practices.


The netsuke were a counter-symbol to the lavish aesthetic of the Palais Ephrussi. Small, understated, and tactile, they stood in quiet opposition to the grandeur around them. De Waal presents Emmy’s dressing room as removed from the masculine public sphere of finance and therefore the ideal location for the Japanese carvings. His observation that “[t]he netsuke are intimate objects for an intimate room” (187) highlights their harmony with Emmy’s private, feminine world. Handled by her children as she dressed, they belong to the world of play and imagination rather than to the spectacle of wealth and art collection, while thematically alluding to Objects as Vessels of Memory and Continuity.


De Waal introduces another of the book’s symbols in his detailed description of the Ringstrasse, the grand boulevard on which the Palais Ephrussi stands. Designed to “have its back to the old city and […] look out into the future” (133), the boulevard’s grandeur and expansiveness represented modern Austria. The fact that most of the street’s inhabitants were Jewish implied that families like the Ephrussis were an integral part of the country’s future. However, the title of Chapter 12, “Die Potemkinische Stadt” (the Potemkin city), undercuts this notion. This phrase alludes to the grand facades of buildings, akin to stage sets, that Gregory Potemkin erected to impress the Russian Empress Catherine II when she visited Crimea. De Waal’s reference to Potemkin’s city implies that the new Vienna was built on similarly illusory and hollow facades. While Jews inhabited many of its most impressive buildings, their position in Austrian society was precarious. Emmy’s complaint that the Palais Ephrussi’s prominent position on the street meant that the family was “all on show here in one glass box” (214) conveyed her sense of vulnerability, as did the parents’ emphasizing that their children must speak only German outside their home. This anxiety encapsulated the tension between the family’s desire to be visible and protected, thematically illustrating The Jewish Diaspora and the Fragility of Assimilation.


De Waal uses historical foreshadowing as he emphasizes the Ephrussis’ fragile integration into Austrian society. Even before Nazism enters the narrative, he depicts the latent undercurrent of antisemitism in Vienna’s early 20th-century social climate, despite its large population of Jews. Although Viktor demonstrated his loyalty to the Austrian Empire through ultimately disastrous financial investments in war bonds, the family experienced “gossamer threads of rudeness” (181) as they were excluded from gentile social circles. As the author charts the fall of the Austro-Hungarian Empire and the rise of Nazism, he portrays the Ephrussi family in an ominous state of decline.

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