Joseph

On the morning of Saturday, October 7, Amir Tibon and his wife were awakened by mortar rounds exploding near their home in Kibbutz Nahal Oz, a progressive Israeli settlement along the Gaza border. Soon, they were holding their two young daughters in the family’s reinforced safe room, urging their children not to cry while they listened to the gunfire from Hamas attackers outside their windows. With his cell phone battery running low, Amir texted his father: “They’re here.”

The Ephrussis were a grand banking family, as rich and respected as the Rothschilds, who “burned like a comet” in 19th-century Paris and Vienna society. Yet by the end of World War II, almost the only thing remaining of their vast empire was a collection of 264 wood and ivory carvings, none of them larger than a matchbox. The renowned ceramicist Edmund de Waal became the fifth generation to inherit this small and exquisite collection of netsuke. Entranced by their beauty and mystery, he determined to trace the story of his family through the story of the collection.