HK080623-The Imperial Patek Philippe

Watch Department

Hong Kong

Head of Watches, Asia

Thomas Perazzi +852 2318 2030 thomasperazzi@phillips.com

Head of Watches, Hong Kong

Jill Chen +852 2318 2033 jillchen@phillips.com

Co-Head of Sale & Specialist

Zi Yong Ho +852 2318 2032 ziyongho@phillips.com

Co-Head of Sale & Specialist

Gertrude Wong +852 2318 2045 gertrudewong@phillips.com

Specialist

Shoyo Kawamura +852 2318 2035 shoyokawamura@phillips.com

Catalogers

Jasmine Wai +852 2318 2087 jasminewai@phillips.com

Yunyi Xu +852 2318 2074 yunyixu@phillips.com

Senior Business Manager, Asia

Felix Yip +852 2318 2034 felixyip@phillips.com

Administrators

Stanley Sit +852 2318 2018 stanleysit@phillips.com

Lydia Ip +852 2318 2015 lydiaip@phillips.com

Geneva

Senior Consultant

Aurel Bacs +41 22 317 8188 abacs@phillipsbacsrusso.com

Senior Consultant

Livia Russo +41 22 317 8188 lrusso@phillipsbacsrusso.com

Client Relations Manager at Bacs & Russo

Clara Kessi +41 22 317 8188 ckessi@phillipsbacsrusso.com

Administrative Assistant at Bacs & Russo

Athena Bras +41 22 317 9665 abras@phillipsbacsrusso.com

Head of Watches, Continental Europe and Middle East

Alexandre Ghotbi +41 22 317 8189 aghotbi@phillips.com

Head of Sale,

Senior International Specialist

Tiffany To +41 22 317 96 63 tto@phillips.com

Specialist

Virginie Liatard-Roessli +41 22 317 8182 vliatard@phillips.com

Specialist & Business Development Associate Marcello de Marco +41 22 317 81 81 mdemarco@phillips.com Associate

Sale and Business Development Manager

Melissa Dahl +1 212 940 1314 mdahl@phillips.com

Administrator

Erica Downs +1 212 940 1389 edowns@phillips.com

Senior Editorial Manager

Logan Baker +1 346 445 0068 lbaker@phillips.com

London

International Head of Perpetual, Director

International Business Director Myriam Christinaz +41 22 317 8184 mchristinaz@phillips.com

Regional Director, Business Development Director Nathalie Monbaron +41 22 317 8183 nmonbaron@phillips.com

Business Development Manager

Diana Ortega +41 22 317 8187 dortega@phillips.com

Senior Administrator

Emanuela Campi +41 22 317 96 67 ecampi@phillips.com

Administrator Tina Schmitt +41 22 317 96 67 tschmitt@phillips.com

Shipping & Office Coordinator

Charles-Henri Gounod +41 79 532 0395 chgounod@phillips.com

Finance & Office Administration

Alexia Rinalducci +41 22 317 96 71 arinalducci@phillips.com

Watchmaker, Technical Support Nicolas Commergnat info@alliance-geneve.com

Photographer Jess Hoffman contact@jesshoffman.ch

New York

Head of Watches Americas, International Strategy Advisor

Paul Boutros +1 212 940 1293 pboutros@phillips.com

Senior International Specialist

Doug Escribano +1 212 940 1382 describano@phillips.com

Head of Sale, International Specialist

Isabella Proia +1 212 940 1285 iproia@phillips.com

James Marks +44 7760 848 881 jmarks@phillips.com Specialist

Chris Youé +44 777 814 3563 cyoue@phillips.com

Sales Coordinator & Client Liaison

Jacky Lam +44 7899 795870 jlam@phillips.com

Administrator

Antonia Fodor +44 7899 795870 afodor@phillips.com

Paris

International Business Development Director

Pansy Ku +33 1 53 71 77 89 pku@phillips.com

Assistant Client Development Coordinator

Tadzio Nuno +33 153 71 77 87 tnuno@phillips.com

China Consultant

Daniel Sum +852 6887 5110 danielsum@phillips.com

Tokyo

Senior Specialist Consultant

Genki Sakamoto +81 3 6273 4818 gsakamoto@phillips.com

Senior Consultant

Kaz Fujimoto +81 3 6273 4818 kfujimoto@phillips.com

Taiwan

General Manager, Taiwan

Cindy Yen +886 963 135 449 cyen@phillips.com

Consultant

Zachary Lu +852 2318 2034 zacharylu@phillips.com

Thailand

Senior Consultant

Rika Dila +66 818 186 878 rikadila@phillips.com

The Imperial Patek Philippe Sale

Hong Kong / 23 May 2023

Auction

23 May 2023 at 7pm (Lots 1-12)

Auction & Viewing Location

G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong

香港九龍西九文化區

柯士甸道西8號

西九文化區管理局大樓G/F

Viewing

18-23 May 2023 10am-7pm

Sale Designation

When sending in written bids or making enquiries please refer to this sale as HK080623 or The Imperial Patek Philippe Sale.

Absentee and Telephone Bids

Tel +852 2318 2029

Fax +852 2318 2010 bidshongkong@phillips.com

Advisory Board

Jean-Claude Biver

Henry Chan

Helmut Crott

Ike Honigstock

Stephen Charles Li

David Lou

TK Mak

Auro Montanari

Jason Singer

Kenneth Wong

Our Team Watches

Senior Executives

Edward Dolman

Executive Chairman

+1 212 940 1241 edolman@phillips.com © Brigitte Lacombe

Cheyenne Westphal

Global Chairwoman +44 20 7318 4044 cwestphal@phillips.com

Senior Consultants

Aurel Bacs Senior Consultant +41 22 317 81 88 abacs@phillipsbacsrusso.com

Executives

Jonathan Crockett

Chairman, Asia, Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Livia Russo

Senior Consultant +41 22 317 81 88 lrusso@phillipsbacsrusso.com

Stephen Brooks

Chief Executive Officer +44 0 20 7318 4046 sbrooks@phillips.com

Jean-Paul Engelen President, Americas, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Hugues Joffre

Senior Advisor to the CEO +44 207 901 7923 hjoffre@phillips.com

Jamie Niven

Senior Advisor to the CEO +1 917 880 2532 jniven@phillips.com

Arnold Lehman Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

Derek Collins Senior Consultant to Chairman’s Office, Asia +852 2318 2000 derekcollins@phillips.com

Deputy Chairmen & Chairwomen

Svetlana Marich Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Robert Manley

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Peter Sumner

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art +44 20 7318 4063 psumner@phillips.com

Miety Heiden

Deputy Chairwoman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Vanessa Hallett

Deputy Chairwoman, Americas, Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Vivian Pfeiffer

Deputy Chairman, Americas, Head of Business Development, Americas +1 212 940 1392 vpfeiffer@phillips.com

Marianne Hoet

Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

Elizabeth Goldberg

Deputy Chairwoman, Americas, Senior International Specialist, American Art +1 212 940 1239 egoldberg@phillips.com

Jeremiah Evarts

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 917 304 4329 jevarts@phillips.com

Cary Leibowitz

Deputy Chairman, Americas, Worldwide Co-Head of Editions +1 212 940 1222 cleibowitz@phillips.com

Kelly Troester

Deputy Chairwoman, Americas, Worldwide Co-Head of Editions +1 212 940 1221 ktroester@phillips.com

Asia Advisory Board

Adrian Cheng

Cindy Chua-Tay

Alain Li

Joyce Liu

TK Mak

Federico ‘Fed’ Tan

Nancy Yang

Scott Nussbaum

Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1354 snussbaum@phillips.com

Kevie Yang

Deputy Chairwoman, Americas, Senior International Specialist, 20th Century & Contemporary Art +1 212 940 1254 kyang@phillips.com

Bacs & Russo

Aurel Bacs

Senior Consultant +41 22 317 81 88 abacs@phillipsbacsrusso.com

Livia Russo

Senior Consultant

+41 22 317 81 88 lrusso@phillipsbacsrusso.com

International Business Director

Myriam Christinaz

International Business Director +41 22 317 81 84 mchristinaz@phillips.com

Geneva

Alexandre Ghotbi Head of Watches, Continental Europe and Middle East +41 22 317 81 89 aghotbi@phillips.com

Regional Director

Nathalie Monbaron

Regional Director, Business Development Director +41 22 317 81 83 nmonbaron@phillips.com

Tiffany To Head of Sale, Senior International Specialist +41 22 317 96 63 tto@phillips.com

Clara Kessi Client Relations Manager

+41 22 317 81 88 ckessi@phillipsbacsrusso.com

Athena Bras Administrative Assistant

+41 22 317 96 65 abras@phillipsbacsrusso.com

Digital Marketing Business Development

Pansy Ku International Business Development Director +33 1 53 71 77 89 pku@phillips.com

Diana Ortega Head of Strategic Partnership & Events, Watches, Europe +41 22 317 81 87 dortega@phillips.com

Arthur Touchot International Head of Digital Strategy +41 22 317 96 62 atouchot@phillips.com

Logan Baker Senior Editorial Manager +1 346 445 0068 lbaker@phillips.com

Virginie Liatard Roessli Specialist +41 22 317 81 82 vliatard@phillips.com

Marcello de Marco Specialist, Business Development Associate +41 22 317 81 81 mdemarco@phillips.com

Edoardo Bolla Associate Specialist +41 79 552 73 68 ebolla@phillips.com

Clement Finet Specialist Perpetual Gstaad +41 79 173 03 45 cfinet@phillips.com

Hong Kong

Thomas Perazzi Head of Watches, Asia +852 2318 2030 thomasperazzi@phillips.com

Jill Chen Head of Watches, Hong Kong +852 2318 2033 jillchen@phillips.com

Zi Yong Ho Co-Head of Sale, International Specialist +852 2318 2032 ziyongho@phillips.com

Gertrude Wong Co-Head of Sale, Specialist +852 2318 2045 gertrudewong@phillips.com

Shoyo Kawamura Specialist +852 2318 2035 shoyokawamura@phillips.com

Jasmine Wai Cataloguer +852 2318 2035 jasminewai@phillips.com

Yunyi Xu Cataloguer +852 2318 2074 yunyixu@phillips.com

Tokyo

Genki Sakamoto Senior Specialist Consultant +81 3 6273 4818 gsakamoto@phillips.com

New York

Paul Boutros

Head of Watches, AmericasInternational Strategy Advisor +1 212 940 1293 pboutros@phillips.com

Taiwan

Kaz Fujimoto Senior Consultant +81 3 6273 4818 kfujimoto@phillips.com

Cindy Yen General Manager, Taiwan +886 963 135 449 cyen@phillips.com

Thailand

China

Zach Lu Consultant +852 2318 2034 zacharylu@phillips.com

Rika Dila Senior Consultant +66 818 186 878 rikadila@phillips.com

London

Doug Escribano Senior International Specialist +1 212 940 1382 describano@phillips.com

Isabella Proia Head of Sale, International Specialist +1 212 940 1285 iproia@phillips.com

Melissa Dahl Sale and Business Development Manager +1 212 940 1314 mdahl@phillips.com

James Marks International Head of Perpetual, Director +44 7760 848 881 jmarks@phillips.com

Daniel Sum Consultant +852 6887 5110 danielsum@phillips.com

Christopher Youé Specialist +44 7778 143 563 cyoue@phillips.com

Foreword

by Aurel Bacs Senior Consultant, Phillips in Association with Bacs & Russo

Quite literally, the number of watches in the world are countless and by today also the number of collectors. And equally, the number of reasons why collectors search for their impossible-to-find collector’s watch: sometimes it is the mechanics, sometimes the aesthetics, the rarity, the condition, and in many cases, all of them and more. Who can wholeheartedly say when picking up a vintage watch that they have never, quite literally, asked the watch “if only you could tell me your life”. And to those who wondered where and with whom a watch has been during the past decades, including myself, provenance and the human histories behind a particular watch are another key-reason to be attracted to this world.

Throughout the years, when handling watches with a history, I caught myself thinking of the love stories they must have witnessed such as with the Joanne Woodward Paul Newman Daytona, Hollywood history with Marlon Brando’s bezel-free GMT-Master worn in Apocalypse Now, sports history with Jack Nicklaus’ gold Day Date, and the course of history such as Bao Dai’s iconic reference 6062, to name a few. Through research in archives, especially when talking to friends and families of the previous famous owners, but also scholars and witnesses, one builds a relationship with those who wore these watches and in a certain way, starts getting to know them.

Puyi’s spectacular Patek Philippe reference 96QL in platinum with full calendar is no exception and over the course of the last three years I have started to discover, once again, the most irrational but by far most interesting and emotional aspect of watch collecting: the histories they can tell us, the friendships they stand for, and all the highs and lows of mankind. The present Calatrava has seen an imperial lifestyle as well as witnessed captivity, indescribable luxury and hardship, but most importantly, the friendship and respect that Puyi and Permyakov built in a matter of less than five years. By all means, I do not wish to sound overly dramatic, nor will I recite John Lennon’s “Imagine”, but throughout the journey with research lasting into late nights and weekends, I was often reminded that the two men could not have been more different with their opposite upbringing, languages, religions, politics and belonging to different nations, yet they became friends and respected each other until the time they parted in 1950. This watch has witnessed their relationship and I often caught myself asking this Patek Philippe “if you could only tell me your story”.

Whatever to you the most captivating aspect of this iconic museum-quality wristwatch is, I wish you endless hours of deep-diving into history when studying the catalogue that you are holding in your hands and hope that you experience the same indescribable emotions when discovering the watch, its history and the friendship between the two men as we experienced while researching it.

‘One builds a relationship with those who wore these watches and in a certain way, starts getting to know them.’

Aurel Bacs

前言

世上名錶浩如煙海，如今藏家數量也不相伯仲。同樣，鐘錶愛好者 對各自追求的夢想藏錶也有千萬情結——有的渴求機械超卓，有的 鍾情美學、珍稀、品相等優越條件，但更多時候，眾人理想中， 總有一應俱全，甚至錦上添花的絕世佳品。當古董錶盈於掌心，

誰能誠心保證未曾暗自私語：「假若錶能帶我窺探它的過去，那有 多好呢。」我和許多沉迷鐘錶藝術的同好一樣，對一枚手錶的歷程、 所涉的人和事，一概深感著迷。藏品來源、藏家故事，往往是一件時計 精品何以令舉世趨之若鶩的終極原因。

我鑒賞鐘錶多年，每當經手來源深刻的錶品時，總對它所見證的 故事產生無限遐想，比如影壇頂級銀色夫妻鍾安．活華（Joanne Woodward）及保羅．紐曼（Paul Newman）的「地通拿」（Daytona）

所銘刻之不渝愛情；馬龍．白蘭度（Marlon Brando）在《現代啟示錄》

佩戴無錶圈「GMT-Master」所烘托的好萊塢盛景；傑克．尼克勞斯 （Jack Nicklaus）金色「Day Date」所編織的體壇神話；越南保大帝經

典「型號6062」所敲響的歷史回聲。追源溯始的過程十分寶貴，尤其是 訪問藏家親友、咨詢學者、搜索時人等各方互動，讓我們仿如置身 歷史時刻，與諸多名人錶主隔空對話。

溥儀超絕的百達翡麗「型號96QL」鉑金全曆腕錶，固然是一次蕩氣迴 腸的溯源之旅。過去三年，我埋首在鐘錶鑒藏史上最令我拍案稱奇， 又最為激蕩人心的一次奇遇。一件時計巨作，同時見證歷史、譜出友 誼，走過人間的高山低谷。這枚經典雋永的「卡拉卓華」（Calatrava）， 承載溥儀從一朝天子到身陷囹圄、由享盡帝皇榮華到飽嘗落難辛酸 的傳奇章節。但最為重要的是，它印證著溥儀與別兒面濶夫五年間 建立的友誼和尊重。即使實情的確如此峰迴路轉，我也無意渲染戲劇 色彩，更不會濫調式引用約翰．列儂（John

Lennon）《Imagine》

的經典名句。但無數通宵達旦、廢寢忘食的苦研日子裏，我不時領悟 到兩個出生、成長、語言、宗教、政見和國籍迥異的人，原來可以如此 親近，成為朋友，相互敬重，直至故事中兩位主角1950年分道揚鑣為 止。每當沉思這枚百達翡麗，我不禁幻想：「假若它能帶我窺探 其過去，那有多好呢。」

無論這枚曠古絕倫的頂級名錶對您而言洵為何物，我都希望閣 下能夠細閱手中圖錄，沉浸在珍藏記載的壯闊歷史，在認識腕錶、 其時代背景，以至兩位歷史人物的寶貴情誼之時，能像我們在經年 累月的求索旅程一樣，體驗到筆者溢於文辭的情感思潮。

富藝斯鐘錶部資深顧問

「我和許多沉迷鐘錶藝術的同好一樣， 對一枚手錶的歷程、所涉的人和事， 一概深感著迷。」

Foreword

by Thomas Perazzi

Head of Watches, Phillips in Association with Bacs & Russo, Asia

In 2019, when I received a telephone call in my Hong Kong office informing me of the existence of a certain Patek Philippe watch in platinum, I almost fell off my chair out of excitement. However, when the caller informed me of the provenance of this venerated model my initial excitement soon turned to become one of my most significant and memorable moments in my years as a watch specialist.

The watch in question was the Patek Philippe Ref. 96QL with triple date and moon phase in platinum. It came to Phillips accompanied by an antique red fan, a notebook carefully filled with personal observations, watercolour paintings, and a leather-bound edition of Confucius’s Analects. More auspicious and surprising was the provenance of this collection, being the one-time possessions of Aisin-Gioro Puyi, known throughout the world as "The Last Emperor."

One of the crucial conditions for Phillips to be entrusted with the sale of this watch was to provide iron-clad proof of the provenance of the watch and its accompanying artefacts. Thus, begun my mesmerising journey to a bygone era of unimaginable luxury of the Forbidden City, to a tumultuous and war-ridden China, and on to the Russian Far East, retracing decades of Puyi’s life to uncover the remarkable story of the watch and artefacts.

Three years on, after working closely with our team of specialists in scientific tests and historical research, I am proud to present to you our findings in this catalogue.Through the narratives of our different commentators, you will experience the momentous emergence of a new China, the lives disrupted and transformed by history. Most important, we will document a touching friendship that developed in spite of a vast divide in the cultural, racial and social backgrounds between the two main figures in this little-known story, one between Puyi and his Russian translator Permyakov.

I look forward to welcoming you to Phillips’ Hong Kong watch preview and auctions in May at our new Asia headquarters in Hong Kong’s West Kowloon Cultural District.

‘My initial excitement soon turned into one of the most significant and memorable moments as a watch specialist.’

Thomas Perazzi

彭博時

前言 彭博時

富藝斯鐘錶部亞洲區主管

2019年，我在富藝斯香港辦公室接到電話，得知一款百達翡麗鉑金腕 錶仍然存世，雀躍不已。當來電者向我訴述藏品的顯赫出處時，起初的 興奮頓成我的鐘錶鑒賞職業生涯中沒齒難忘的重要時刻。

上述時計正是本圖錄的主題：百達翡麗型號96QL鉑金腕錶，搭載全曆 和月相顯示，附有一把紙扇、一本筆記本、一組水彩畫和一本皮質封面的 《論語》。它們皆來自末代皇帝愛新覺羅．溥儀。

富藝斯受託拍賣這枚名錶附帶關鍵條件，考證手錶和上述藏品的來源， 追源溯本的過程亦由此而起：從紫禁城內鐘鳴鼎食的奢華盛世，到戰火 紛飛的動盪時代，再到苏联的東北角落。當中歷經溥儀幾十年的滄桑 人生，揭開了御用手錶和藏品的非凡典故。

在此期間，富藝斯團隊與科學考證專家和歷史研究学者通力合作。

三年飛逝，本人誠意呈獻我們的努力成果，一一收錄於本圖錄之中。

這通過不同對談者的敘述，閣下將會體驗到新中國的誕生為不少人士 帶來深遠改變，在文化、種族和社會的巨大差異下，溥儀和他的翻譯 別兒面濶夫（Permyakov）在亂世中仍然建立了深厚友誼，難能可貴。

本人誠邀閣下在五月蒞臨富藝斯位處香港西九文化區的亞洲新總部， 到訪香港鐘錶拍賣和預展，欣賞末代皇帝的曠世遺珍。

「起初的興奮頓成我的 鐘錶鑒賞職業生涯中 沒齒難忘的重要時刻。」

Foreword

by Wang Wenfeng

Aisin-Gioro Puyi is a unique figure in history. From the last emperor of imperial China, to a puppet ruler of Manchukuo, to a war criminal, and eventually to an ordinary citizen, there is hardly another example in history, whether in China or elsewhere. Puyi's unparalleled story itself is an epitome of historical changes in China during the first half of the 20th century. It is such uniqueness of Puyi’s life that has drawn enormous attention and enthusiasm for his study.

In 1982, the Palace Museum of the Manchurian Regime, an institute specialising in Puyi’s studies, reopened. During the restoration of the Palace, which is where the museum was situated, an interview project with members of the Aisin-Gioro family and witnesses of the related histories began. It was this year that I graduated from university and landed a job at the museum, where I became very passionate in understanding and researching Puyi. It was a rare opportunity to be involved in interviewing members of Puyi's family relatives and the concerned, all of whom were still alive. I interviewed Pujie, Runqi, Puyi's second, third, fourth and fifth younger sisters, as well as his nephews including Yuyan, Yuzhan and Yutang, his personal attendant Li Guoxiong, and his wives, Li Yuqin and Li Shuxian, who were both alive at that time. The conversations allowed me to learn about many interesting stories that had never been revealed to the public. After years of studies and research, I conceived the book The Last Emperor Puyi and National Treasures, a true representation of the secrets and stories concerning Puyi and national treasures

When I saw the collection of artefacts, I recalled some of the details of the interview, such as Puyi's platinum calendar watch. Yuyan vividly recalled, "I was loyal to Puyi during our time in the Soviet prisons, so he rewarded me with a calendar-embedded platinum watch. Right before we were extradited by the Soviet Union to China, our belongings were inspected. Puyi whispered asking if I still have the watch, I confirmed it was with me. When I gave it to Puyi, he turned around and handed it to the Soviet interpreter, Permyakov, who was inspecting us."

Li Guoxiong also mentioned how he repaired Puyi's glasses and camera while in the Soviet camp, and how he was asked to take apart the watch and remove the surface of the dial to check if it was made of platinum. Regarding the manuscripts of Puyi, Runqi's recollections can be evidence. ‘I am Puyi's brother-in-law on two levels, one as his wife’s younger brother, another as his third younger sister’s husband. Because of this strong tie, I have been living closely with Puyi since I was a child. Life in the Soviet Union was rather boring, I therefore killed time by drawing. As my drawing skill was better than Puyi’s, I drew and Puyi wrote inscriptions, and so we became a prolific duo. Looking back, it was such a fun time!’ The fan, which Puyi gave to Permyakov at the Tokyo Trial, is inscribed by the latter, the last emperor, in terms of handwriting, style and brushwork. Puyi’s calligraphic work has hardly survived to this day, to say nothing of the even rarer fan inscriptions. All these contribute to the high value of such unique examples.

‘When I saw the collection of artefacts, I recalled some of the details of the interview, such as Puyi's platinum calendar watch.’

Wang Wenfeng

Former Researcher of the Palace Museum of the Manchurian Regime, Founder and Former Secretary General and Chief of Staff of Puyi Research Society

王文鋒

前言 王文鋒

前偽滿皇宮博物院研究員 「溥儀研究會」前任秘書長兼辦公室主任

愛新覺羅．溥儀是一個特殊的歷史人物，他從中國封建社會最後 一個皇帝，到偽滿洲國傀儡皇帝，又到戰犯，最後到普通老百姓，這是 古今中外僅有的特例。溥儀自身獨特的人生經歷折射出了20世紀上 半葉，中國社會的歷史變遷。正是由於溥儀這種特殊性，激起了人們 對研究他的興趣和熱情。

1982年研究溥儀的專門機構偽滿皇宮博物院恢復了，在修復偽滿 皇宮舊址的同時，開始採訪愛新覺羅家族成員和歷史當事人知情者 的工作。也就在這一年，我大學畢業來到偽滿皇宮工作，對溥儀的了 解和研究，自然激起了我的興趣。參與了對溥儀家族成員及當事人 的採訪工作。那時候這些人都健在是難得的機遇。我多次採訪了溥 杰，潤麒，溥儀的二妹，三妹，四妹，五妹，以及溥儀的侄子毓嵒，毓嶦， 毓嵣，親信隨侍李國雄，和當時在世的兩位妻子李玉琴和李淑賢。通 過採訪，我知道了很多不為人知的宮中趣聞趣事。

經過多年的積累和研究，我寫了《末代皇帝溥儀與國寶》一書，真實的 再現了溥儀與國寶之間的秘密與故事。

當我看到這批文物時，便回想起了當年在偽滿皇宮博物院 採訪的一 些細節，比如溥儀那塊鉑金日曆手錶。毓嵒曾清楚地回憶道：在蘇聯 期間，由於我對溥儀的忠心，溥儀賞給我一塊鉑金日曆手錶，在我們 被移交回國前，蘇聯對我們攜帶的物品進行了檢查，溥儀小聲對我 說，那塊鉑金日曆手錶你戴了嗎？我說戴著呢，溥儀說拿過來，等我把 這個表交給溥儀時，溥儀轉身交給了正在檢查我們的蘇聯翻譯 別兒面濶夫。

李國雄也曾提到，在蘇聯期間，為溥儀修眼鏡，修照相機，以及拆卸 手錶，在錶盤上除下一些粉沫，檢驗是否是鉑金的情景。

關於溥儀那些手稿，潤麒的回憶可以得到驗證：「我是溥儀的小舅子， 還是他的三妹夫，由於這種特殊的關係，我從小就和溥儀在一起玩。 在蘇聯的時候由於閒著沒事可幹，我便隨手畫了些畫，我畫畫的手藝 比溥儀好，溥儀便在我畫得畫上添了許多字，這樣我們就合作完成了 很多作品，回想起來，真是好玩兒啊！」

溥儀在東京作證期間，寫給蘇聯翻譯別兒面濶夫的那幅扇面，無論 從字跡，風格，用筆等方面來看，確是溥儀所寫，溥儀流傳在世的墨跡 十分有限，扇面作品更是罕見，所以足見此扇面之珍貴。

「當我看到的這批文物時，便回想起了當年 偽滿皇宮博物院採訪的一些細節，比如溥儀 那塊鉑金日曆手錶。」

Foreword

by Russell Working Journalist

The old man said he had proof. He’d known the last emperor of China. Look, he said, right here. Georgy Permyakov cleared the clutter on his desk and opened drawers to produce a beautifully painted fan, a notebook filled with essays in Chinese writing, and a priceless platinum Patek Philippe calendar watch. The essays were interspersed with whimsical figures formed out of Chinese characters.

‘You know who drew these? Henry Puyi, the last emperor of China,’ Permyakov said, referring to Aisin-Gioro Puyi by his English name. ‘That fan, he inscribed himself.’

These items, along with a lovely series of watercolours by Puyi’s brother-in-law, formed a unique collection that Permyakov had held after the former emperor’s imprisonment in the Soviet Union from 1945-1950. The year was 2001, and my wife, Nonna, had tracked down Permyakov—then 83 years old—in the Russian Far Eastern city of Khabarovsk. We were there to interview him for an unrelated story. What we hadn’t anticipated was Permyakov’s connection to Aisin-Gioro Puyi—also known as Emperor Xuantong—who ascended the Dragon Throne as a toddler in 1908. The elderly translator had interpreted for Puyi and taught him the Russian language and communist doctrine. Permyakov’s artifacts revealed a unique relationship. He and Puyi knew each other as captor and captive, yet there was evidence of a friendship between the two men. Puyi inscribed the fan as a gift for Permyakov when the two were in Tokyo in 1946, composing a poem in Chinese.

Puyi ascended the throne in 1908 at the age of 2 (3 years old for norminal age). After he was ousted in Beijing, the Japanese installed him as ruler of the puppet state of Manchukuo. When the Soviet army entered China and captured him in 1945, he spent five years in Soviet Union.

A home without a phone

It was a roundabout path that led us to Permyakov. As freelance writers based in Vladivostok, we travelled widely in Russia, as well as other Asian countries. In 2001, after a visit to Permyakov’s former hometown in Harbin, China, we caught the train to Khabarovsk, an Amur River city of about 600,000 people. Nonna ran across Permyakov’s name while paging through bound volumes of old, yellowed newspapers, looking for information on a post-war trial of Japanese prisoners in the Soviet Union. She asked reporters at a local paper if the interpreter was still around.

They said sure. He doesn’t have a phone, they said, but write him a letter and leave it at the post office. He comes and picks up his messages there. If he’s willing to talk, he’ll reply. The next day Permyakov had left a note for us. The answer was yes. We found him in a dreary apartment block, but his bookshelves were crammed with a lifelong author and linguist’s books and papers.

Why no phone? Well, they were hard to get in Soviet times, and he never requested a line anyway. This was one of the ways he kept a low profile. Although he had worked for the NKVD—the dreaded secret police later known as the KGB—government agents followed him throughout the Soviet era. He feared for his life. Bald-headed and full of infectious enthusiasm, Permyakov was a former athlete, teacher, and writer who remained robust into his eighties. As I wrote at the time:

Georgy Permyakov is 83 years old and so fit he will spring to his feet and pound his stomach to prove he retains some of the strength of his youth as a boxer. He never drinks or smokes, speaks six languages, and sleeps on his balcony in Khabarovsk most nights, even in Russia’s winter. He chatters in Japanese and Putonghua and is a little gleeful when visitors stare blankly back.[1]

The former interpreter cheerfully watched my jaw drop when he told me of his connection to China’s last emperor. I had learned about Puyi from The Last Emperor, a 1987 movie directed by Bernardo Bertolucci. The film portrayed Puyi’s capture by the Soviet Red Army in 1945 as he tried to flee for Japan. What the movie left out was the years Puyi subsequently spent in Soviet Union, relying on Permyakov for all his interactions with his captors. Some subjects you report on have a way of staying with you. Permyakov was one of them. In late 2001 Nonna and I left Russia. After freelancing from Cyprus, we ended up in Chicago, where I worked for the Tribune. But we sometimes reminded each other of the charismatic old interpreter. On bitter winter nights, we marvelled at Permyakov’s habit of sleeping out on his balcony in Khabarovsk, where temperatures can dip as low as minus 40 degrees. But more than two decades after we had interviewed Permyakov, I was surprised when the old story resurfaced in 2022. A researcher for Phillips messaged me. They were interested in talking to us. Oh, and did we have any photos of Permyakov, Puyi’s watch, the fan, and the other objects?

After so many years I said we almost certainly did not. But I had underestimated my wife’s organizational skills. It turned out she had stashed away a bound volume of the negatives I had shot of Permyakov and his treasures. And so we find ourselves involved once again telling the story of one of 20th-century China’s most fascinating figures. The artefacts themselves whisper tales of a fallen dynasty and of the transformation of its ruler from ordinary to citizen.

And while the collection hints at the tumultuous forces that created modern China, it also tells a more human tale—of the comradeship of an emperor and the interpreter who gave him his voice and helped him find his way in a foreign land.

‘You know who drew these? Henry Puyi, the last emperor of China... that fan, he inscribed himself.’

Georgy Permyakov

記者

那位老人說他認識中國末代皇帝，還有證據在手。

他說：「看，就在這裏。」

格爾基．別兒面濶夫（Georgy Permyakov）清理桌上雜物，打開抽屜，

拿出一把繪畫精美的紙扇、一本寫滿中文的筆記本，還有一枚名貴的 百達翡麗Quantieme Lune鉑金腕錶。

筆記本穿插著由許多漢字組成的怪誕圖案。

「你知道這是誰畫的嗎？是亨利．溥儀，中國末代皇帝」，別兒面 濶夫說。亨利（Henry）的是愛新覺羅．溥儀的洋名。「那把扇由他 親自題字。」

這些物品，加上溥儀妻舅兼妹夫創作的一系列水彩畫，自他們被關押 在蘇聯之後，一直由別兒面濶夫收藏。

那是2001年，我的妻子羅娜在俄羅斯遠東城市伯力，找到年屆83歲 的別兒面濶夫。當時我們對他進行與本故事無關的採訪工作。

始料不及的是，別兒面濶夫竟然認識鼎鼎大名的末代皇帝溥儀。

這位年老的翻譯家曾為溥儀擔任翻譯，並教導他俄語及共產主義 學說。

別兒面濶夫的藏品，籠罩著一股耐人尋味的神秘氛圍。他和溥儀， 一個是監營工僕，一個是戰爭俘虜，本該對立敵視。但證據顯示， 兩人不但沒有結仇，竟還譜出友誼。1946年，溥儀和別兒面濶夫身在 東京。溥儀在扇面上以漢字題詩，作為送給別兒面濶夫的禮物。

1908年，年僅三歲的溥儀登極稱帝。溥儀被逐出紫禁城後，由日本關 東軍扶植為滿洲國的傀儡皇帝。1945年，蘇聯軍隊攻入中國境內俘虜 溥儀，把他關押在蘇聯監營，囚禁歷時五年。

離群索居：不用電話的老人

拜訪別兒面濶夫的路途十分崎嶇。我和羅娜同是駐海參崴的自由 撰稿人，周游俄羅斯以及亞洲各國。2001年，我們參觀別兒面濶夫在 哈爾濱的故居後，便乘搭火車前往人口只有六十萬、位於黑龍江及 烏蘇里江交界的小鎮——伯力。

某天，羅娜翻閱舊報紙，尋找戰後蘇聯境內的日本囚犯受審資料。

閱讀期間，偶遇「別兒面濶夫」（Permyakov）這個名字。她到一家當地 報館，查詢這位翻譯是否尚在人間。

記者們說：「他當然健在。你要找的人沒有電話，但可以寫信，拿去 郵局便是。他習慣到郵局取信。如果他願意和你交談，便會回信。」

翌日，別兒面濶夫給我們留下了一張字條。答案是：「願意」。

我們在一棟殘舊的公寓找到別兒面濶夫。他藏書極富，書架塞滿書籍 和論文。那是一位年邁作家兼語言學家的畢生閱讀匯集。

為什麼不安裝電話？電話在俄羅斯並不流通，而且他也沒有這個需 要。別兒面濶夫深居簡出，多年來保持低調。這位沉實老翁身經百戰， 曾受聘於斯大林時代的內務人民委員部（NKVD），即國家安全委員會 （KGB）、俗稱蘇聯秘密警察的前身。退休後他仍對人生安危保持 警惕，謹慎隱藏行蹤。

前言 羅素．華京

別兒面濶夫光頭，活力十足，曾是一名運動員、教師兼作家。即使年過 八十，依然聲如洪鐘，精力充沛。正如我當時記述：

別兒面濶夫年屆八十三歲，還是非常壯健。他健步如飛，還刻意捶打 小腹，以證昔日拳擊技術。他不煙不酒，精通六種語言，天天在陽臺 就寢，嚴冬如是。他以流利日語和普通話喋喋不休，面對驚異得目瞪 口呆的訪客，則表現得格外雀躍。

眼前老人親述一段巧遇末代皇帝的奇聞，我被嚇得張皇失措。這位 翻譯界老前輩卻從容不迫，樂此不疲。

我對溥儀的認識，毫不意外地源自1987年貝托魯奇的經典電影 《末代皇帝》。電影重現了溥儀在1945年逃亡日本時被蘇聯紅軍俘虜 的一幕。但它所留白的，是溥儀在蘇聯伯力收容所的五年，以及鮮為 人知的一章——與別兒面濶夫合寫的異鄉情愫。

作為記者，職業生涯上總會遇到一些令你念念不忘的人物。別兒面 濶夫正是佼佼者，那光環在我記憶內縈繞不去。2001年底，羅娜與我 離開了俄羅斯，移居塞浦路斯從事自由撰稿，其後搬到芝加哥， 在《芝加哥論壇報》任職記者。寰球半圈，我們仍舊不時想起那位談笑 風生的傳奇老人。

無數嚴寒夜晚，我們總是想起別兒面濶夫席睡陽臺的習慣。

一想到氣溫低至攝氏零下40度的伯力如何冰冷刺骨，頓然嘖嘖稱奇， 非常佩服。

闊別這位老前輩二十多年後，更神奇的是，2022年我們竟重溫這則 奇幻迷離的故事。一天，富藝斯拍賣行一名研究員聯絡上我，說有意 與我們交談。我馬上想：「哦，我們還有別兒面濶夫、溥儀手錶、紙扇和 其他藏品的照片嗎？」

事隔那麽多年，我本能地認為答案必然是「沒有」。實情是，我低估了 我太太儲物成編的能力。原來她把我為別兒面濶夫及其寶物拍攝的 底片裝訂成冊，一直收藏至今。

就這樣，我們突如其來地再度走進這段歷史奇聞。這些藏品，承載著 一個盛世王朝的沒落，還有一朝天子脫變成社會公民的變幻人生。

藏品見證著現代中國的動盪時期，同時側寫了一個情味盎然的人間 故事——末代皇帝流落異鄉，在彷徨無助之際，一位翻譯雪中送炭。

「你知道這是誰畫的嗎？是亨利．溥儀， 中國末代皇帝…那把扇由他親自題字。」

格爾基．別兒面濶夫

The Imperial Patek Philippe Sale

23 May 2023, 7pm

Lots 1–12

‘I introduced myself in the Beijing dialect and said I would be the interpreter for emperor Puyi ... From the corner came a tall, thin Chinese man in glasses. He smiled showing wonderful teeth, ivory coloured, and stretched out his hands with very long fingers.’

Georgy Permyakov

Puyi's Russian interpreter: Georgy Permyakov 溥儀的俄語翻譯格爾基．別兒面濶夫

Photo Courtesy Rubezh

The Emperor & the Interpreter 獄中翻譯

An encounter with a royal tends to leave an impression, and six decades later Georgy Permyakov still recalled the day he met Puyi in a Soviet prison camp.

It was December 1945. Permyakov—who was fluent in Chinese and Japanese— was working at Special Object No. 45 in Khabarovsk. This was not a nightmarish gulag of the sort memorialized by Soviet Nobel Prize-winner Aleksandr Solzhenitsyn; rather, it was a spare facility in which Puyi was granted extraordinary privileges.

Permyakov found the imperial prisoner in a spacious room with flowerpots on the windowsill.

‘I introduced myself in the Beijing dialect and said I would be the interpreter for emperor Puyi,’ Permyakov writes. ‘From the corner came a tall, thin Chinese man in glasses. He smiled showing wonderful teeth, ivory-coloured, and stretched out his hands with very long fingers.’ [2]

Puyi wore an expensive brown woollen suit, and his hair was perfectly parted. Although he was approaching 40, his face was wrinkle-free and his posture as erect ‘as if he’d swallowed a ruler,’ Permyakov writes.

At 28 years old, the interpreter’s entire life had prepared him for this moment. After several years in Tianjin, his family had moved in 1927 to Harbin, where the expatriate Russian population ran in the tens of thousands. There he studied Chinese and Japanese, and from 1939-1945 he taught the two languages in the Soviet consulate.

As the Soviet Army entered northern China in August 1945, the Japanese arrested the consulate staff, planning to murder them, Permyakov recalls. But the quick victory of the Red Army save them.[3]

With the war’s end Permyakov moved to Khabarovsk. In Stalin’s time thousands of Russians who returned from Harbin ended up in the Gulag, but Permyakov possessed valuable linguistic skills. Upon his arrival at Special Object No. 45, the camp director, Maj. Anatoly Denisov, stunned the interpreter with the news that they held a special prisoner: the former emperor of China. Permyakov would interpret for him.

When the two men met Permyakov reminded the prisoner of the scene at the pond in Tianjin. Puyi said that he indeed recalled the boy, the interpreter’s family said. Because of that, trust was established between them.

In the camp Puyi did not live the life of a typical Soviet gulag prisoner, felling timber in the taiga, or sleeping in lice-infested barracks. Rather than march out before dawn to build canals or dig in mines, he got up at a leisurely 7:30 a.m. and breakfasted at 9 a.m. Privileged even in this unique camp, he was allotted his own room with a bed, a desk, a wardrobe, and even a phonograph, according to the Puyi Museum in Khabarovsk.[4]

[2] Permyakov, Georgy, Император пуи: пять лет вместе (‘Imperator Puyi. Pyat let vmeste’; ‘Emperor Puyi: Five Years Together’), Rubezh, No. 4 (2003), 292. [3] Permyakov, 'Emperor Puyi: Five Years Together’, Rubezh, 279. [4] Pu Yi Museum, Khabarovsk, Russia, “QR-12 Daily Routine,” https://puimuseum.ru/en/daily-routine/, accessed 4 March 2023

Puyi with Permyakov (right) and other Soviet officials. 溥儀，別兒面濶夫(右)和其他蘇聯官員們。

Photo Courtesy Rubezh

Puyi being transported by plane at Mukden (Shenyang), having been captured by the Soviet Red Army, 2nd October 1945. 1945年10月2日溥儀在瀋陽機場被蘇聯紅軍截獲。

© Palace Museum of The Manchurian Regime 偽滿皇宮博物院

He practiced tai chi chuan, offered Buddhist prayers, and washed his face and hands frequently. In his free time he read books and journals. From 2 p.m. to 6 p.m., he napped. At 6 p.m. he had dinner and chatted with others in the yard gazebo.

The prison administration gave Puyi and his household a garden to tend ‘in order to make us parasites do a little light labour,’ Puyi writes. He was mesmerized by the growth of his tomatoes, beans, eggplants, green peppers, and other crops.[5]

Because of his special status, Puyi was allowed to keep two suitcases and some European clothes, the museum notes. His companions, however, were not allowed this privilege and had to make do with minimal clothing.

If Johnston steered Puyi toward being a British gentleman, Permyakov’s focus was on teaching him to make his way in a communist state. Under Permyakov’s tutelage Puyi studied Russian and the communist doctrine. The former emperor delighted in learning lullabies and a drinking song called, ‘Kalinka,’ Permyakov writes. Permyakov assigned the prisoner him books to read, among them Problems of Leninism and History of the Communist Party of the Soviet Union.

Just as he had done in Manchukuo, Puyi shaped himself according to his new captors’ demands. He did not question Permyakov’s lessons about the evils of kings and capitalists, but certain communist teachings bewildered him.

‘Why don’t you like intellectuals?’ Puyi asked. ‘These people create the wealth of the country.’ [6]

Terrified of extradition to China, Puyi sought to stay in the Soviet Union. He hoped ultimately to migrate to the United States or the United Kingdom, as these were Soviet allies, Permyakov writes.[7] During the five-year confinement in the Soviet Union, Puyi made several verbal requests and three written applications to the local authorities, asking for permanent asylum.

[5] Aisin-Gioro Pu Yi, From Emperor to Citizen. Translated by W.J.F. Jenner, Oxford University Press, 1987, 326. [6] Permyakov, Georgy, Император пуи: пять лет вместе [‘Imperator Puyi. Pyat let vmeste’; ‘Emperor Puyi: Five Years Together’], Rubezh, No. 4 (2003), 293.

[7] Permyakov, Georgy, ‘Emperor Puyi: Five Years Together,’ Rubezh, 293.

‘If Johnston steered Puyi toward being a British gentleman, Permyakov’s focus was on teaching him to make his way in a communist state.’

會見皇室成員，對一般人來說總是沒齒難忘。六十年後，別兒面濶夫 回望蘇聯監營中對溥儀的第一印象，仍是記憶猶新。

1945年12月，操流利中、日文的別兒面濶夫在伯力第45號收容所 工作。有別於諾貝爾文學獎得主亞歷山大．索贊尼辛（Aleksandr Solzhenitsyn）筆下極度殘酷的古拉格群島勞改營，溥儀所處的收容 所舒適得多，而且能讓他繼續享受皇帝的待遇。

別兒面濶夫發現溥儀在窗臺擺放盆栽花卉。別兒面濶夫憶述： 「我用北京腔自我介紹，告訴溥儀我是他的翻譯員。迎我而來的， 是一位高挑纖瘦、佩戴眼鏡、笑容可掬、牙齒白皙、十指幼長的 中國人。」

溥儀穿著昂貴的棕色毛料西裝，頭髮清晰分界。雖已年近四十歲， 但臉上毫無皺紋，腰背也很挺拔。別兒面濶夫寫道：「就像吞下了 一把間尺」。

這位負責為溥儀翻譯的二十八歲青年，仿佛前半生都在準備迎接 此刻。別兒面濶夫在天津居住數年後，隨家人於1927年搬到俄國僑民 達數萬人的哈爾濱。他在當地學習中文和日文，在1939–1945年於 蘇聯領事館任職導師，教授這兩種語言。

別兒面濶夫憶述，1945年8月蘇軍進入中國東北時，日軍逮捕了蘇聯 領事館的工作人員，計劃謀殺他們。幸好援軍及時趕到，保住使館 人員的性命。

戰後，別兒面濶夫移居至伯力。在斯太林時代，成千上萬從哈爾濱 回國的俄羅斯人，最終被關進勞動改造營管理總局（古拉格）。 但別兒面濶夫擁有非凡的語言能力，因此受到重用。當別兒面濶夫抵 達伯力第45號收容所時，營長阿納托利．傑尼索夫（Anatoly Denisov） 少校告訴他，營內關押了一名特殊戰犯——中國皇帝。

別兒面濶夫大為吃驚，但也準備就緒進行翻譯工作。

兩人見面時，別兒面濶夫重提他童年在天津池塘的狼狽一幕。別兒 面濶夫後人記述:「溥儀說他確實記得那個男孩。」二人冥冥中重遇， 立刻建立互信。

身處伯力收容所的溥儀，與古拉格囚犯的生活大相徑庭。他無需在 北方針葉林砍伐木材，也不用睡在長滿蝨子的監倉。據伯力溥儀 博物館介紹，溥儀沒有在黎明前出門修渠或挖礦，而是在早上 七時半悠閒地起床，九時吃早餐。即使被收監，這位末代皇帝也享有 特殊待遇。他有自己專屬的房間，內有一張床、一張書桌、一個衣櫃， 還有一台留聲機。

溥儀練習太極拳，虔誠拜佛，經常洗臉洗手。他在餘暇閱讀書籍、 雜誌，下午二至六時午睡，晚上六時吃飯，然後在操場涼亭與人聊天。

溥儀在自傳中寫道：「為了使我們這批寄生蟲，做些輕微的勞動， 收容所給我們在院子裏劃出了一些地塊，讓我們種菜。我和家裏人們 分得一小塊，種了青椒、西紅柿、茄子、扁豆等等。」種植過程讓他感到 「新奇」、「很有趣味」。

博物館指出，由於溥儀地位特殊，因此被允許保留兩個手提箱和 一些歐製服裝。然而，溥儀同被關押的其他近親沒有被賦予這種 待遇，只能穿著粗衣麻布。

若說莊士敦把溥儀塑造為一名英國紳士，那麼別兒面濶夫的角色， 就是為溥儀鋪砌共產主義之路。別兒面濶夫教授溥儀俄語及共產 主義理論，寫道：「末代皇帝樂於學習搖籃曲，以及一首名為《卡林卡》 （Kalinka）的下酒歌。」別兒面濶夫為溥儀選書閱讀，包括《列寧主義 問題》（Problems of Leninism）及《蘇聯共產黨歷史》（History of the Communist Party of the Soviet Union.）。

正如在不由自主的滿洲國，溥儀只能按照主人的要求來改造自己。 他沒有質疑別兒面濶夫口中皇帝、資本家的罪惡，但對某些共產主義 概念感到困惑。溥儀問：「你為什麼不喜歡知識份子？他們為國家 創造了財富。」

溥儀害怕被引渡回中國，試圖留在蘇聯。「他希望最終能遠渡蘇聯盟 友美國或英國」，別兒面濶夫寫道。在蘇聯的五年內，溥儀向蘇聯當局 提出多次口頭及三次書面要求，希望能獲得永久庇護。

若說莊士敦把溥儀塑造為一名英國紳士， 那麼別兒面濶夫的角色， 就是為溥儀鋪砌共產主義之路。

Puyi testifies at the Tokyo Trail in 1946. (Georgy Permyakov sat behind) 1946年溥儀到達東京，在遠東國際軍事法庭出庭作證。(別兒面濶夫坐在後面)

Photo Courtesy Rubezh

‘Bald-headed even in his twenties, Permyakov can be seen with Puyi and other Russians in video from the trial.’

A Testament to Friendship The Red Fan

扇中摯情

‘It is not dawn yet in the courtyard, the moonlight seeps through the south window. Sitting together by the lamp, the long silent mood endures. Dedicated to my comrade Permyakov in Tokyo on 19 August 1946, by Aisin-Gioro Puyi.’

With those words, Puyi turned a simple fan into a unique collector’s item of extraordinary value. Decorated with white flowers and a peak that resembles Mount Fuji, the Puyi fan’s central motif is (with a dash of historical irony) typically Japanese.

This is because Puyi inscribed the fan as a gift to Permyakov while they were in Tokyo. ‘The handwriting, brushwork, style and manner of the inscribed literature confirmed that it was written by Puyi,’ Mr. Wang Wenfeng, author and researcher for the Palace Museum of the Manchurian Regime, writes in an internal report for Phillips. ‘Little of Puyi’s calligraphy is known to exist. This fan serves as an extremely rare—and in all aspects marvellous—example.’

The fan has its origins in one of the major events of post-war Japan: the International Military Tribunal of the Far East, known as the Tokyo Trials. From 1946–1948, the Allied victors, including the Soviet Union, tried 28 Japanese Imperial Army officers and government officials on charges of war crimes.

A Soviet delegation that included Permyakov accompanied Puyi to Tokyo in August 1946. Bald-headed even in his twenties, Permyakov can be seen with Puyi and other Russians in video from the trial.[8] In his testimony Puyi portrayed himself as a powerless pawn of the Japanese, forced to adopt the Shinto religion and unable to rule his ostensible realm.

This collection includes a note, dated 4 April 2003, in which Permyakov relates the origins of the fan. After Puyi’s second day of testimony, on the evening of 19 August 1946, the interpreter sat with the prisoner in the garden of the Soviet embassy villa in Tokyo. Puyi was a ‘decent poet,’ Permyakov would recall. He asked the deposed emperor to compose poems on two fans.

Puyi inscribed a red fan for Permyakov and a blue one for the interpreter’s wife, Rimma. The couple eventually gave Rimma’s fan to the USSR Academy of Sciences, but they kept the red one.

Puyi inscribed the surface with a wuyan jueju (five characters quatrain), a classical Chinese poetry format with four lines to a stanza, each line consisting of five characters, Mr. Wang Wenfeng says.

By this time Puyi had spent only a year in the Soviet Union and had little understanding of the government’s attitude toward him, Wang states. No doubt he sought to curry favour by offering precious gifts such as this fan with his personal inscription.

‘Exclusive video of Emperor Puyi's Testimoy [sic] At The Tokyo Trials,” YouTube, uploaded by 298, 6 December 2016, https://www.youtube.com/watch?v=49NY-KZBdis.

Despite his lofty status as emperor, Puyi had been known to take a pen or brush in hand on other occasions in his life. During the Tokyo trials, the ex-emperor, eager to please his Soviet masters, agreed to sell his autographs. According to the Russian documentary Kitayskaya Igrushka Diktatora (‘Chinese Toy of the Dictator’), the Russians sat their prisoner at a table and had him sign his name, like a sports celebrity, for anyone willing to fork out cash.[10]

Composing poetry—as well as inscribing a fan—was not out of character for Puyi. Johnston notes that his former pupil ‘has an inherited poetic gift and has written much classic verse and even some of the modern verse.’ Puyi himself notes that from childhood he had loved writing poetry. And it was not unlike him to try to flatter the powerful figures in his life by composing verses. In April 1935, while traveling by ship to Tokyo, a seasick Puyi wrote a ‘toadying poem’ on Sino-Japanese friendship.[11]

More significantly, Puyi used the gift of fan to commemorate a turning point in one of the most important relationships in his life. As he would later do for Permyakov, Puyi inscribed a fan for his Scottish mentor and friend, Reginald Johnston, when the imperial tutor left China. In September 1930 Johnston travelled to Tianjin to bid his former pupil farewell. Early on the morning of the 15th, Puyi dropped by Johnston’s hotel bearing a fan on which he had copied an ancient Chinese poem of farewell. Puyi took his former teacher in his motorcar to the wharf. He even went aboard and sat in the Scotsman’s cabin until the last moment. The young man then returned to his vehicle. During the half-hour it took the steamer laboriously to turn around in the harbour, Puyi ‘sat in his car on the wharf and remained there as long as the ship was in sight.’

The farewell poem, as translated by Johnston, carries hints of the poetic view of friendship Puyi would later express on the Permyakov fan:

The road leads ever onward,

And you, my friend, go this way, I go that.

Thousands of miles will part us—

You at one end of the wide world, I at the other.

Long and difficult is the journey—

Who knows when we shall meet again? [12]

[10] ‘The Chinese Toy of the Dictator’ Китайская игрушка диктатора, [Kitaiskaya igrushka diktatora], YouTube, uploaded by Аманжол, [Amanzhol] 10 June 2016. https://www.youtube.com/watch?v=GJmH3my7jhI

[11] Aisin-Gioro Pu Yi, From Emperor to Citizen. Translated by W.J.F. Jenner, Oxford University Press, 1987, 280. [12] Reginald F. Johnston, Twilight in the Forbidden City. Victor Gollancz Ltd, 1934, 447."

小院夜未央，明月透南窗。 相伴燈前坐，清意正悠長。

一九四六年 八月十九日於東京 贈與別兒面濶夫同志 愛新覺羅溥儀

一首言淺意深的詩句，令紙扇搖身一變，成為極具意義的非凡瑰寶。 此扇以紅地為背景，中心繪有一座貌似日本富士山的山峰，一邊 以迎風飄揚的櫻花襯托。種種圖案，構成一道典型的日本風景 （卻隱含歷史的諷刺意味）。溥儀在東京時，把紙扇作為禮物贈送 別兒面濶夫。近代史學者兼偽滿洲皇宮博物院副秘書長王文鋒， 為富藝斯撰寫了一份內部研究報告，當中指出：「從字跡，用筆習慣， 風格上來看確是溥儀所寫。溥儀傳世的墨蹟十分有限，足見此扇面之 珍貴。」紙扇見證轟動全球的歷史時刻——遠東國際軍事法庭，亦即 東京審判。從1946至1948年，包括蘇聯在內的盟軍戰勝國以戰爭 罪名，在東京向二十八名日本皇軍軍官及政府官員進行審判。

1946年8月，由別兒面濶夫在內的蘇聯代表團陪同溥儀前往 東京。從審判的錄影片段中所見，二十多歲光頭的別兒面濶夫、 溥儀以及其他蘇聯軍官在一起。在溥儀在陳詞中以日本人的棋子 自居，聲稱被迫改信神道教，是個沒有權力的皇帝。

藏品中涵蓋一張別兒面濶夫寫於2003年4月4日的筆記，當中記載了 紙扇的由來。據筆記所述，溥儀在1946年8月19日晚，即第二天作證後 的夜晚，與別兒面濶夫於東京的蘇聯大使館別墅花園內坐在一起。

別兒面濶夫形容溥儀為一位「儒雅的詩人」。他邀請這位愛好作詩的 末代皇帝在兩把扇子上題詩。溥儀欣然答應，分別在一把紅地紙扇上 為別兒面濶夫題詩，以及一把藍地紙扇上為其妻莉瑪（Rimma）題詩。

夫婦二人最終把莉瑪的藍扇捐贈蘇聯科學院，只保存了紅扇。

扇面題字的內容，如王文鋒所說：「是一首五言絕句」。他又分析溥儀 此舉背後動機，提出「溥儀此時方到蘇聯一年時間，尚未完全弄清 蘇聯方面對他所持有的態度，也許是出於討好奉承的心裏為他的 蘇聯翻譯別兒面濶夫寫下了這個扇面。」

溥儀雖貴為“天子”，卻有著書生文人的行徑，習慣隨身帶備紙筆。 在東京審判期間，這位末代皇帝急於取悅蘇聯，樂意出售他的親筆 簽名。根據俄羅斯紀錄片《獨裁者的中國玩具》（Kitayskaya Igrushka Diktatora）拍下一幕，溥儀坐在桌前，像體育名人滿足球迷一樣， 為願意掏出鈔票的蘇聯人簽上大名。

作詩、題字，對溥儀來說順理成章。莊士敦曾經形容溥儀「與生俱來 的賦詩才華，能駕馭古典與現代詩體，創作甚豐」。溥儀曾說，他從小 就喜歡寫詩。若說他用詩歌來奉承權貴，也不無道理。1935年4月， 溥儀成偽滿洲國皇帝後首次訪日，當船隻從大連開往橫濱時，溥儀 為「日滿親善」作詩。溥儀在《我的前半生》中憶述「記得我在這次暈頭 轉向、受寵若驚的航程中，寫下了一首諂媚的四言詩」，幾天後「又在 暈船嘔吐之中寫了一首七言絕句」。 更重要的是，早在為別兒面濶夫題字贈扇的許多年前，溥儀已作過 類似的舉動，在人生極為重要的關頭，向亦師亦友的恩人道謝。 1930年9月，莊士敦在返回英國的前夕，特意到天津向他的前學生 告別。15日清晨，溥儀帶著一把紙扇來到莊士敦下榻的飯店。莊士敦在 《紫禁城的黃昏》記述道別一幕：「皇上一大早就來到我住的飯店， 一直和我在一起，直到我必須登船的時候為止。我們一起乘他的汽車 去碼頭……航行將近半個小時，他一直坐在停在碼頭的汽車上， 直到船隻從他的視野中消失為止。」這首離別詩正像莊士敦翻譯的， 承載著相似於別兒面濶夫扇面的友情詩意：

行行重行行，與君生別離。

相去萬餘里，各在天一涯。

道路阻且長，會面安可知。

A Research Journey

研究之旅

When an owner entrusts an auction house with the sale of a treasured artefact, the auctioneer must establish its provenance.

In the case of Emperor Puyi’s watch, Phillips launched a research project perhaps unprecedented in the annals of auctions. A worldwide team of watch experts, historians, journalists, and scientists undertook a three-year investigation into the origins of the Patek Philippe Reference 96 Quantieme Lune.

The watch is priceless in its own right—one of only eight known, and one of three with this dial configuration. But its value was heightened with the mystique of its backstory. Aisin-Gioro Puyi, the last emperor of the Qing dynasty, had given the watch to his interpreter while he was imprisoned in the Soviet Union (1945-1950).

More than three years later, Phillips has proven the watch’s provenance—as well as that of Puyi’s notebook, a fan he inscribed, and fifteen watercolours by his brother-in-law. The evidence came in three stages.

1. The Journalists

During an internet search, Phillips’ team discovered an article about Georgy Permyakov, Puyi’s interpreter, that had run in the South China Morning Post in May 2001. A husbandwife team of journalists, Russell and Nonna Working, had interviewed Permyakov and seen many of the items in Permyakov’s home.

Now living in suburban Chicago, they still have the original negatives of Russell’s photos of Puyi’s notebook, the fan, and the watch arrayed together on Permyakov’s desk. These photographs placed the watch and related artefacts in Permyakov’s home two decades earlier, confirming the provenance that the mementos had belonged to the interpreter. Nonna’s further research turned up a memoir article by Permyakov about Puyi, as well other publications in Russian confirming the relationship of the two men.

2. Scientists and Scholars

When the owner entrusted the timepiece to Phillips in September 2019, an internal analysis established that all its parts were all original.

The company also sent the artefacts to ArtDiscovery, a London laboratory that uses radiocarbon dating and microscopic examination to confirm the age of the fan, notebook, watercolours, and other objects. The lab also conducted a literary and stylistic analysis, looking for the hand of Puyi and his brother-in-law in the writing and paintings. This evidence, too, confirmed the provenance.

Yet there was a mystery in the watch dial itself: Someone had removed half of the surface. ‘The first question we had was, “Why is the dial in that condition?” ’ says Thomas Perazzi, head of Phillips watches, Asia. ‘We knew it was not from aging, it was not water damage. We knew that it was done by someone. But we didn’t know who was and the reason.’

The answer would come in a later phase of the investigation. And fascinatingly, the dial itself would help establish the provenance.

作為一家深具信譽的拍賣行，一旦受到藏家委托拍賣名貴珍藏，必會 肩負起為藝術品端本正源的重任。

富藝斯接獲末代皇帝溥儀遺珍的考據工作，有感任重道遠，遂展開相信 是拍賣史上空前未有的宏博研析。我們組織了一個匯集鐘錶專家、歷史 學家、資深記者及科學家的跨國團隊，對據悉為溥儀御用的百達翡麗 型號96「Quantieme Lune」腕錶進行了歷時三年的深入調查。

這枚百達翡麗腕錶本身的矜貴程度已經毋庸置疑，連它在內的同 型號存世品僅得八枚，具有同類錶盤配置的僅三枚。其至尊顯赫的 來源出處、撲朔迷離的流傳過程，更為腕錶倍添非凡的深層意義。 這枚曠世名錶，據說由末代皇帝愛新覺羅．溥儀在囚蘇聯期間 （1945–1950年）贈予其俄語翻譯。

三餘年後，經過研究團隊多番努力，最終彙整出藏品來源的詳實報告， 分三階段搜證分析溥儀腕錶、筆記本、題詩紙扇及皇親潤麒繪畫的 15幅水彩畫。

（一）記者實錄

富藝斯研究團隊在初期的網上搜索中，發現一篇2001年5月由《南華 早報》刊印的文章，內容有關溥儀翻譯別兒面濶夫（Georgy Permyakov）。 作者羅素．華京（Russell Working）及同為記者的妻子羅娜．華京 （Nonna Working）曾經採訪別兒面濶夫，在其府上親眼看過藏品。

華京夫婦現居芝加哥市郊，仍然保留著羅素當年拍攝的菲林底片。 相中顯示別兒面濶夫住所桌上，排列著溥儀筆記本、紙扇和腕錶。照片 記錄了物品二十年前的實況，證明別兒面濶夫曾為藏品物主。羅娜仔細 追查，發現別兒面濶夫曾撰寫一篇憶述溥儀往事的文章，以及其他記載 兩人關係的俄文刊物。

（二）科學鑒定與藝術考據

2019年9月，現時藏家委托富藝斯研究腕錶及珍藏各品。經本行分析， 確定腕錶及每件藏品均為原製，未經加工。

我們把藏品送到位於倫敦的藝術科研機構「ArtDiscovery」，以實驗室 放射性碳測試及顯微鏡檢查確認紙扇、筆記本、水彩畫與其他物品 的年齡。機構同時為藏品進行藝術風格分析，推敲其文字、繪畫是否出 自溥儀及潤麒，最終亦提供了相關證據。

然而，錶盤經移除半面表層，留下一大謎團。富藝斯鐘錶部亞洲區主管 彭偉時（Thomas Perazzi）說：「我們的先決問題是，錶盤何以出現如此 狀況？這顯然無關老化、積水，而是人為。但經手人及其動機為何，我們 實在毫無頭緒。」

謎題在研究的後期階段漸露曙光。有趣的是，腕錶品相成為藏品來源的 考據關鍵。

Photos taken by Russell Working during an interview with Georgy Permyakov in Khabarovsk in 2001.

2001 年，羅素·華京在伯力採訪別兒面濶夫時拍攝的照片。

© Russell Working

A Research Journey

3. The Biographer

While the Workings established the Russian provenance, Phillips researched Chinese language sources. This led to Mr. Wang Wenfeng, formerly researcher of the Palace Museum of the Manchurian Regime, the only institute specialising in Puyi’s studies, based in Changchun.

Since 1982 he has devoted his scholarly life to the last emperor of the Qing dynasty. He was familiar with the memoirs by Puyi’s Aisin-Gioro family. In their writings they confirmed that Puyi had given his interpreter the watch, mentioning Permyakov by name.

Furthermore, Wang had interviewed many members of Puyi’s family, including brothers, sisters, nephews, and wives. One conversation with Puyi’s personal attendant, Li Guoxiong, solved the mystery of the dial. One day in their Soviet prison camp, Puyi asked Li to remove the surface of the watch dial to check if it was made of platinum, the servant recalled. When he saw that the surface was not platinum, Puyi told Li to stop.

Finally, the museum sent a team of Chinese scholars to visit the Permyakovs in 2009. They, too, viewed the entire collection there—and confirmed that the watercolours in the collection had been painted by Gobulo Runqi, the notebook written by Puyi during the Soviet prison camp period.

Drawing on these streams of information, Phillips’ patience was rewarded. Confirmation came from physical, literary, and eyewitness sources: the story was true. Puyi gave his interpreter the watch.

(三）溥儀研究學者

華京夫婦確定藏品一度流傳俄國之際，富藝斯團隊著手搜查中文文獻。 研究過程中，我們聯繫上專研溥儀的唯一學術機構、位於長春的偽滿皇 宮博物院之前研究員王文鋒。

自1982年起，王文鋒致力研究末代皇帝溥儀，對愛新覺羅家族的事跡 知之甚詳。在他們的親述記錄或親筆回憶錄中，提及別兒面濶夫，亦證 實溥儀曾向他送贈腕錶。王文鋒採訪過溥儀家族成員，包括多名弟、 妹、侄、妻，以及隨從李國雄。據李國雄憶述，他在囚蘇聯期間，受溥儀 吩咐把腕錶表層移除，直至溥儀判斷出物料是否鉑金。錶盤的謎團因 而解開。

2009年，偽滿皇宮博物院派出一個中國學者團探訪別兒面濶夫。他們 在其俄國住所觀看了每件藏品，確認各水彩畫均由郭布羅．潤麒繪畫， 筆記本由溥儀在蘇聯收容所內所寫。

三年多來的探賾索微，終於換來豐碩成果。科研實驗、藝術分析，乃至 目擊者的第一手資料，一致證實當初之據悉來源的確真有其事—— 溥儀把腕錶贈予翻譯別兒面濶夫。

In 1983, Puyi's sister, Aisin-Gioro Yunxin, donated Puyi's leather bag he used to carry his treasures, and the recipient of the leather bag was Wang Wenfeng.

Palace Museum of The Manchurian Regime

Aisin-Gioro Yuyan: A Written Record of Heir Appointment by the Last Emperor, written by Jia Yinghua

From Emperor to Citizen, written by Aisin-Gioro Puyi

A collection of memoirs used for the Imperial Patek Philippe research. 探索御藏百達翡麗的回憶錄集。

From top to Bottom: Twenty years of the Last Emperor written by Aisin-Gioro Yuzhan

ArtDiscovery Report

考據報告

Phillips engaged ArtDiscovery, London, a scientific laboratory specialising in attribution and authentication processes. ArtDiscovery’s experts have spent decades collecting and analysing data on an extensive range of reference materials, especially pigments. So began the amazing journey of a scientific and stylistic analysis of:

1) the inscribed bamboo red paper fan, 2) the manuscript notebook with essays and drawings, 3) fifteen watercolour paintings (together referred to as the three objects in this article).

The goal was first to confirm whether the material composition of the artefacts is consistent with their proposed dating to the second half of the 1940s. A second stage of the research involved examining the style of the scripts and watercolour paintings to identify the hand of Puyi himself, as well as possibly others.

Before any sampling or materials analysis is undertaken, one must understand the structure and condition of the artefacts. Therefore, ArtDiscovery scientists examined the objects under both visible and ultraviolet light for luminescence. They also examined the surface with a low-power binocular microscope.

The laboratory then selected sample sites, characterising for the materials for dating and authenticity. Experts identified areas where pigment samples could be extracted. This enabled them to categorise the range of materials usedpaints, inks, crayons, and pencils - and support the provenance and dating of the works to the second half of the 1940s.

An examination of the paper supports of the three objects are also essential in dating the artefacts. The laboratory examined these supports for the presence of any modern materials: fibres, fillers, or treatments. To date the paper of the notebook and the watercolours, as well as the bamboo struts of the fan, scientists took minute samples for radiocarbon dating, a method for estimating the age of formerly living organic materials.

With the combination of these examinations, experts concluded that the materials found in the objects – paper, pigments, binders, and wood – were of types that matched the proposed dating. Consequently, ArtDiscovery established that the material composition of the three objects is consistent with the proposed dates between 1945 until 1950. Likewise, the condition of the paper and paints is consistent with a work of that age.

More specifically:

► The paper and bamboo are of types that were available in those years.

► The crayons, inks, pencil, metallic paint, watercolours, and/or gouache were available in that period.

► Radiocarbon dating of the paper of the notebook yielded results that predate the 1940s, which are consistent with the proposed date of manufacture of the illustrations.

► Radiocarbon dating of a bamboo strut from the fan, believed to have been inscribed in 1946, likewise yielded results consistent with the creation of the object in the first half of the 20th century.

In short, a rigorous scientific analysis proved that the artefacts are of the period associated with the Soviet imprisonment of Puyi between 1945 until 1950.

Encouraged, Phillips proceeded to the second stage of investigation: evaluating Russian texts, added later to the notebook, which aided in the visual and stylistic analysis to identify the various hands that appear in the objects. This stage required a more scholarly and investigative approach than the scientific tests, and necessitated comparisons of calligraphic and pictorial examples of Puyi and his entourage.

Methodology for the stylistic analysis of the Chinese and Russian script and the drawing styles

Phillips contracted with a Chinese- and Russian-speaking art historian to help select inks from the texts to establish whether there were materials that might be unique to specific hands. This initial examination revealed that more than one person was involved with the creation of the artefacts. There were numerous mentions of Gobulo Runqi (younger brother of Wanrong, Puyi’s first wife) as the artist who painted the watercolours.

Here is an overview of historical events relating to the manufacture of the objects:

► 12 August 1945: Soviets Red Army captured Puyi together with several family members, and his servants and bring him to a prison camp in Khabarovsk after a stay in Chita, Siberia.

► August 1946: A Soviet delegation including Permyakov takes Puyi to Tokyo to testify as a prosecution witness in the International Military Tribunal for the Far East (the ‘Tokyo Trials’) 19 August 1946: While staying at the Soviet embassy in Tokyo, Puyi inscribes the fan for Permyakov.

► Creation of the notebook and watercolour paintings completed before August 1950 establishes a timeline for the pieces.

► With the timeline established, the art historian examined the content of the notebook and the folios. The Russian paratexts – the additions, explanations, and adornments to the original text – play a crucial role in establishing the authenticity of the works. They include:

► A handwritten table of contents, subsequently revised in typewritten form.

► Handwritten annotations identifying the content of the drawings, indicating authorship, and insert in Puyi’s responses to the works.

► Enumeration of the objects and individual leaves to facilitate the archiving of the works.

The name Permyakov appears at the top of the handwritten table of contents: ‘G. Permyakov was their translator. Puyi specially wrote this notebook for G. Permyakov in gratitude.’ The archival system, located on the top of select pages, includes the name Permyakov followed by a number. All these marks point to the objects having entered the possession of Permyakov, and thus he becomes the locus for research on the material reshaping and the provenance of these objects.

This in-depth and scholarly study revealed many fascinating findings about the different hands and further validates the results of the scientific analysis.

Identification of the Russian hands

Confirmation of Permyakov as the writer of the bulk of the Russian paratexts would require comparison to other manuscripts handwritten by him, which are currently inaccessible in Russia. However, American journalist Russell Working and his wife, Russian journalist Nonna Working (formerly Chernyakova), confirmed seeing the notebook in Permyakov’s home in 2001, with Permyakov present. Wang Wenfeng, a former researcher at the Palace Museum of the Manchurian Regime in China, recalled seeing photos taken by his colleagues of the notebook and watercolour drawings with the Russian paratexts at Permyakov’s home in the presence of Permyakov’s widow on 9 July 2009. Furthermore, a detailed visual comparison of Permyakov’s handwriting throughout the collection of artefacts appears to match examples from Permyakov’s letters and documents published online. The Phillips artefacts include several examples of his handwriting in Russian, amongst them:

► A note dated 4 April 2003 which explains the provenance of the fan which Puyi gave to Permyakov.

► A note on the first page of the Confucius Analects stating that Puyi gave it to Permyakov 31 July 1950, the date he boarded a train to return to China.

► A handwritten table of contents in the notebook which Puyi contributed to.

► Paratexts introducing each of the paintings by Gobulo Runqi, Puyi’s brother-in-law.

Research by Russell and Nonna Working has uncovered many references where Permyakov’s handwriting can be found, all of which appear to correspond with the above samples. Two of the sources are cited below:

► On 2 December 2017, shortly after the 100th anniversary of Permyakov’s birth, AmurMedia.ru published an appreciation of the interpreter. The article includes two photographs of Permyakov which he himself annotated. On one of them he noted that it was taken in Harbin, China, when he was 22 years old, listing his weight and boxing category.

► In a long article on Permyakov from issue №1 (39) in 2017, Slovesnitsa Iskusstv, a regional arts journal, published a letter from Permyakov to a friend regarding the interpreter’s science fiction publications. Again, this appears to match the writing in the 2003 note, the Analects, and elsewhere in the collection. This article includes a photo of a cover he inked for one of his books, signing it with his pseudonym, G. Lanin; its style resembles the paratexts that accompany the Runqi drawings.

Identification of handwriting in the notebook and watercolour paintings

This part of the study poses many challenges. No longer is one in the certainty of scientific results but one can only proceed by comparisons and observations of the calligraphy present in the notebook and watercolour paintings with extant works by Puyi and Runqi. Further researches by Wang have, however, shown that the hand of Puyi was present in the notebook and in the labelling of the watercolour drawings.

Questions were raised about the ‘Western’ format of writing in the notebook. Wang stated that Puyi habitually wrote in vertical columns (which corresponds to traditional Chinese calligraphy) when using a brush, and in columns or rows (as a modern, Westernised format) when using a pen. As these Soviet Union-period manuscripts were executed on modern graph paper, Puyi adapted to write horizontally. As for the literary style for the essays, Puyi always wrote in baihua (modern vernacular) instead of wenyan (classical Chinese).

Stylistic analysis and comparisons of the figures in the notebook and watercolours

As mentioned earlier, Runqi was the author of the watercolour paintings whereas the Chinese annotations were by Puyi. Art Discovery further demonstrated that Puyi was likely the author of certain figures in the notebook and the watercolour of a scholar behind a desk by making comparisons to his extant ink drawings.

The first case proposes that Puyi drew the figures illustrating how to handle fireworks in the notebook, as well as related drawings in the surrounding pages. This determination rests on a comparison to an undated sketch attributed to Puyi expressing his desire for a bloody end to the warlord Sun Dianying (1889-1948). Similarities to the woman igniting a firework include almond-shaped outlines delineating the eye, with a dot in the inner corner indicating the pupil and intense directionality of the gaze of the figure. The bodies composed of lumpish torsos, fingers of equal width and arms appear preternaturally short or long to suit the desired action all lead to a likely assumption that the woman with the firework was drawn by Puyi.

The second case is that of the watercolour painting of a scholar at his desk which provided further insight on Puyi’s involvement in this composition. A Russian paratext, ‘Puyi helped draw this sketch’, tantalisingly suggests that Puyi might have drawn the figure frowning in concentration to read a classical Chinese text. The complexion and intensity of this figure differs radically from the construction of faces in other pictures created by Runqi.

Stylistic analysis and comparisons of the script and calligraphy of the red paper fan

At the centre of this study, and perhaps of greater importance in the history of modern China, is the red bamboo fan that Permyakov received as a gift, inscribed and signed by Puyi on 19 August 1946, amid the former emperor’s testimony at the Tokyo Trials. The motif of pink blossoms at the mist-clad foothills of Mount Fuji is a conventional emblem of Japan, its local quality enhanced by the stark graphic design in bright mineral pigments. Puyi might well have painted the fan himself, in a Japanised style also practiced by other members of his family. Normally the artist would paint on the pre-cut fan-shaped paper, which would then be mounted onto the fan armature. This explains why the character columns do not correspond to the folds of the fan. Alternatively, the fan could have been procured ‘off the rack’, ready to inscribe, from any number of sources. Inscription of paintings as gifts demand legibility – in this case, a sedate, evenly-spaced dedication in kaishu (standard script). The Qing emperors had employed this style as a presentation script in all media, public and private, conveying both moral uprightness and informality, since the 17th century.

Examples of Puyi’s calligraphy found by our art historian emphatically demonstrate this standardised representation of the imperial kaishu. That Puyi chose to inscribe the fan with this script demonstrates the sincerity and gravitas that he attributed to Permyakov’s request.

Conclusion

The results of the scientific examinations of materials and techniques, as well as radiocarbon dating performed on the three objects, are all consistent with their production in the second half of the 1940s. Similarly, the testing supports the provenance associated with Puyi and his interpreter Permyakov. The stylistic study also reveals indices that lead to acknowledge the hand of Puyi and that of his brother-in-law Runqi.

Aside from the scientific and scholarly examinations, this study has shed light on a friendship between two human beings which transcended their age difference, culture, origin, and social status. This is a rarely known piece of history which is at once touching and unimaginable during a politically unstable and often violent period in the history of China and Russia.

Scientists compared the two watercolours' technique. 水彩畫的技術比較。

富藝斯聘請位於倫敦、專門考證藝術品真偽的科研機構ArtDiscovery 展開研究工作。ArtDiscovery具數十年經驗，長期搜集及綜合龐大資 料數據，尤其擅於顏料分析。機構的專家團隊隨即以科學實證及藝術 風格兩大層面，為腕錶所隨分為三組的藏品進行漫長而精細的學術 研究，對象為

1）附題字的竹骨紅地紙扇；

2）圖文並茂的手稿筆記本；

3）十五幅水彩畫（下文簡稱為「三品」）。

首先，專家需確認三品的材料構成是否吻合1940年代後半期的特徵。

其次，根據手稿及水彩畫的風格，判斷作者是否為溥儀本人。

科學研究方法

在抽樣化驗之前，ArtDiscovery的科學家先分別在日光及紫外光下 查看藏品，並採用低功率的雙目顯微鏡勘測物品表面，以瞭解其結構 及品相狀況。

然後，科學家鎖定可提取顏料樣本的區域，繼而採樣到實驗室進行 化驗，以判斷材料的年代及真偽。通過科學數據，三品的油彩、水墨、 蠟筆及鉛筆等物料得以分類定義，作為考核藏品來源的佐證。結果顯 示，受檢測的材料製作日期一概為1940年代後半期。

分析三品的紙本構造，對藏品的斷代有莫大幫助。實驗室檢測紙張 有否包含任何現代物料及加工痕跡，例如纖維、填充物或後期處理。 為確定筆記本及水彩畫的紙張以及竹製扇骨的年代，科學家提取細 微樣本，採用可推算有機材料年齡的放射性碳測年法（radiocarbon dating）進行測試。

綜合這些化驗檢測，專家得出的結論為，藏品所用的紙張、顏料、粘劑 及木材的類型，均與上述提出的日期相符。因此，Art Discovery確定， 三品的材料構成符合上述建議的1940年代後半期。同樣地，紙張及顏 料的狀況亦與上述年代一致。

更具體內容為：

► 用紙及竹骨皆與上述年份流通之類型一致。

► 蠟筆、墨水、鉛筆、金屬彩、水彩及/或水粉彩皆與上述年份流通 之類型一致。

► 筆記本紙張的放射性碳測年結果為1940年代以前，與上述建議 的水彩畫繪製日期一致。

► 紙扇一根竹枝的放射性碳測年結果為二十世紀上半葉， 與扇面題記所標示的1946年一致。

簡而言之，嚴格的科學分析證明，這批藏品的年份符合溥儀被囚蘇聯 的1940年代後半期。

有了初步基礎，富藝斯展開第二階段調查——評估筆記本上後來添加 的俄語文字，透過視覺形象及字跡風格，辨識三品圖、文出自何人。有別 於先前的科學驗證，此階段側重學術分析及調查研究，包括對溥儀及家 屬親信的書法及繪畫實例進行比較分析。

中俄文字及繪畫風格分析

富藝斯聘請一位通曉中文及俄語的藝術史學家從三品中抽取墨水，推 敲三品的圖、文創作出自誰人手筆，結果顯示作者多於一人。 不少意見認為水彩畫的作者是溥儀首任正室婉容皇后的弟弟， 郭布羅．潤麒。

藏品相關的歷史事件概述如下：

► 1945年8月12日：蘇軍在瀋陽機場截獲溥儀及其家屬與 僕從，一同押解至西伯利亞赤塔稍作停留，再轉送至伯力監營。

► 1946年8月：由別兒面濶夫在內的蘇聯代表團同溥儀前往東京， 出席遠東國際軍事法庭以控方證人身份作證。1946年8月19日， 溥儀在蘇聯駐東京大使館逗留期間，在紙扇題詩並贈予別兒面 濶夫。

► 1950年底前，完成筆記本及水彩畫。

這些事件為藏品提供了一個時序。

隨著時序的確定，藝術史學家對筆記本及水彩畫開本的內容進行研究。 兩者皆附有被視為作業文本的俄文筆記，用作補充、解釋及潤飾原始文 本。這些文字記錄，對確定作品真偽發揮了關鍵作用。研究對象包括：

► 手寫目錄，隨後以打字形式修訂。

► 手寫注釋，確定圖畫的內容，表明作者身份，加插溥儀對 作品的回應。

► 主題及頁面並排列舉，以便存檔。

別兒面濶夫的名字出現在手寫目錄的頂部。該句俄文筆記的譯文為「G. Permyakov是他們的翻譯。溥儀為了感謝別兒面濶夫，特意為他寫了 這本筆記。」位於選頁頂部的分頁標注含有別兒面濶夫的名字及一個數 字。這些標記顯示物品是由別兒面濶夫擁有，因此他成為這些藏品來源 的核心研究對象。

這項精細嚴謹的研究，證實藏品圖文出自誰人之手，同時揭示了諸多動 人故事，並進一步驗證了上述科學分析結果。

確認俄文筆跡

要確認筆記的俄文部分是否出自別兒面濶夫，需與他的其他手稿進 行比較，惟目前無法從俄羅斯獲得相關樣本。然而，美國記者羅素．華京 （Russell Working）及妻子、俄羅斯記者羅娜．華京（Nonna Working） （原姓切尼亞科娃Chernyakova）證實，二人於2001年在別兒面濶夫 家中親眼目睹筆記本，當時別兒面濶夫在場。2009年七月九日偽滿皇 宮博物院三位成員在別兒面濶夫家中親眼目睹筆記本及水彩畫，當時 別兒面濶夫遺孀在場。

此外，專家比較別兒面濶夫在藏品的筆記字跡，與他現存網絡的手寫 信件及文件，結果兩者的視覺形象相符。藏品的俄文例子為：

► 一份寫於2003年4月4日的筆記，記述溥儀把紙扇贈予 別兒面濶夫。

► 《論語》首頁筆記，指出溥儀於1950年7月31日將其交給 別兒面濶夫。當天他登上遣返中國的火車。

► 別兒面濶夫在筆記本上的手寫目錄。

► 每一幅水彩畫上介紹溥儀妻舅兼妹夫郭布羅．潤麒的副題。

據羅素及羅娜．華京的研究顯示，多個別兒面濶夫的筆跡與上述 樣本相符，以下引用2項資料。

► 2017年12月2日，在別兒面濶夫誕辰百周年後不久， AmurMedia.ru網站發表了一篇文章向這位翻譯家致敬。文章附有 兩張別兒面濶夫的照片，由別兒面濶夫加上注釋，其一注明攝於 中國哈爾濱，當時他22歲，且列出其體重及拳擊級別。

► 俄國藝術雜誌《Sloovesnitsa Iskusstv》2017年第1期刊登 （總39期）了一篇有關別兒面濶夫的長文，附有由別兒面濶夫 寫給友人的信件，談論前者的科幻小說出版事宜。信中字跡與 上述2003年的紙扇筆記、寫在《論語》上的筆記以及藏品內的 其他文字一概吻合。這篇文章附有他以筆名G.Lanin在作品 封面的墨水簽名之照片，其風格與潤麒畫作的旁注雷同。

確認筆記本及水彩畫的字跡

這一部分甚為棘手，難以單憑科學鑒證找出答案，而需對筆記本及水彩 畫的字跡與溥儀、潤麒的存世墨寶進行嚴格的比對分析。ArtDiscovery 曾作出一些推測，但在是次研究內未能達至絕對準確的結論。然而，根 據王文鋒的進一步研究，此筆記文本及水彩畫標識均出自溥儀手筆。

王文鋒表示，溥儀寫字的習慣為：毛筆字豎寫，鋼筆字橫、豎寫皆有。這 批蘇聯時期手稿的稿紙是橫向格子格式，因此溥儀順著橫寫。語言方 面，溥儀一直書寫白話文，而非文言文。

筆記本及水彩畫人物的風格分析及比較

如前文所述，水彩畫出自潤麒之手，畫上註釋則皆由溥儀寫上。 Art Discovery按溥儀現存的水墨畫與本珍藏進行比較，發現 筆記本中若干人像及水彩畫「文人書房」內的人像，均由溥儀繪畫。

研究一，推敲溥儀在筆記本上為明如何處理煙花所繪的插圖，以及周圍 幾頁的相關插圖。這可與一幅未有標示日期的草圖比較，溥儀憑斯圖 表達對民國軍閥孫殿英（1889-1948）盜掘清皇陵之憤恨。又有如燃點 煙花的女人，其修長的杏眼、以圓點輕描的瞳孔、人物鮮明的眼神，以及 笨重軀幹、等寬手指、配合所需動作而異常短小或修長的手臂，皆可判 斷為溥儀所繪。

研究二，該幅「文人書房」附有俄文副題「溥儀協助繪畫人物草圖」，顯示 溥儀參與繪畫此作的可能性。畫中主角——一位潛心閱覽古籍的文人， 亦出自溥儀之手。此人膚色及表情與潤麒筆下的人物臉部結構截然 不同。

紅紙扇的文字及書法風格分析與比較 是次研究核心，是溥儀在1946年8月19日東京審判期間，贈送別兒面 濶夫的一把有題詩及署款的紅地竹骨紙扇，這關乎中國現代史上極具 意義的一環。畫中富士山腳下的粉紅色櫻花圖案，是日本的傳統標誌。 畫家通過色澤明艷的礦物顏料，以及棱角分明的圖形佈局，渲染濃烈的 地域色彩。扇畫由溥儀親繪，畫中的日本風格，以往亦有其他家族成員 採用。一般而言，畫家會在預先剪好的扇形紙上作畫，然後裝在扇骨上， 因此，行文與扇骨的位置錯落有致。當然，成扇也可被預先購下， 作為「現成物」備用，待日後題字。繪畫詩詞作為贈禮，講求美觀穩重， 因此字體類型不能草率。清麗沉實、工整勻稱的楷書就最為合適。 自十七世紀以降，清朝皇帝在公私信函上，一律使用楷書，其工整結構 與剛健綫條，洋溢規矩正直的氣韻。

藝術史學家在研究過程中發現，現存的溥儀書法例子，一律沿襲宮廷 御用的楷書。溥儀選用楷書為紙扇題字，以示他對別兒面濶夫的莊嚴 敬意。

結論

就物料及技術層面的科學驗證，以及三品所接受的放射性碳測年，所得 結果為：其製作年份，與先前假設的1940年代後半期一致。檢測結果亦 與溥儀及別兒面濶夫的來源相符。在藝術風格的類比分析上，專家評定 藏品的文字與圖畫皆出自溥儀及潤麒之手。 科學及美學研究所得的鑒定及斷代成果，令人鼓舞。而藏品所見證的 末代皇帝與俄語翻譯的寳貴友誼，更是彌足珍貴。這種誠摯之情打破 年齡、文化、出身及社會地位的隔閡。這段鮮為人知的珍貴故事， 發生於二十世紀初風起雲湧、動蕩不安的中、俄兩國，既扣人心弦， 又超乎想像。

1. Aisin-Gioro Puyi 1906-1967

The Red Fan inscribed and dated by Puyi 'It is not dawn yet in the courtyard, the moonlight seeps through the south window. Sitting together by the lamp, the long silent mood endures.

Dedicated to my comrade Permyakov in Tokyo on 19 August 1946 by Aisin-Gioro Puyi.' [in Chinese]' left of fan ink and colour on red coloured paper 19 x 33.2 cm. (7½ x 13⅛ in.)

Inscibed and signed in 1946.

Accompanied by a written note by Georgy Permyakov

愛新覺羅 〮 溥儀

《紅色紙扇》

款識：「小院夜未央，明月透南窗。

相伴燈前坐，清意正悠長。

一九四六年 八月十九日於東京 贈與別兒面濶夫同志

愛新覺羅溥儀」

(由愛新覺羅·溥儀標註於左方)

水墨 顏料 紅色紙本 1946年作

附 格爾基．別兒面濶夫的手稿紙

Estimate: in excess of HK$ 100,000

US$ 12,000

‘It is not dawn yet in the courtyard, the moonlight seeps through the south window. Sitting together by the lamp, the long silent mood endures. Dedicated to my comrade Permyakov in Tokyo on 19 August 1946

by Aisin-Gioro Puyi.’

An Emperor's Eye-View of China 御筆遺稿

The collection includes a notebook in which Puyi discusses numerous aspects of Chinese culture, from childbirth to old legends. It is a fascinating window into Puyi’s thought, as if the emperor were peeking out a fortress arrow slot at what he knows or imagines to be the daily life of his realm.

Puyi began putting pen to paper from the time he arrived in the Soviet Union. He and his entourage landed in Chita and were driven to a nearby resort called Molokovka. At first he was afraid the Soviets would execute him, Permyakov writes in the Vladivostok-based journal Rubezh. Instead, the prisoner was surprised to find himself well-treated.

According to Permyakov, Puyi wrote in a different notebook, ‘Japanese generals ... had been scaring me about Russian communism. “In Russia they will rob you; they will kill you or hang you.” But in Molokovka they treat me and feed me well, and even cherish me. I take walks. There’s a forest and clean air. Russians are kind and laugh a lot.’ [13]

Later, in Khabarovsk, Permyakov assigned the prisoner to write about China, in part to distract Puyi from his obsessive melancholy. He filled a school-style notebook with musings on the materials he read and Chinese life as he knew it. The content, diverse and jumbled, covers the customs and habits of his homeland, as well as general knowledge of daily life. The topics vary widely: childbirth in traditional China, the remarriage of widows, the etiquette of hosting guests, the burning of incense, and even regional cuisines.

Puyi also passes along rumours about rare regional cuisines, such as eating live mice dipped in honey, or cooking a cat and a snake together—a dish called ‘fight of a dragon and a tiger.’ He admits these dishes are ‘not necessarily true.’

Some of Puyi’s most touching remarks—given his unhappy marriages and early separation from his loved ones—concern family life and matrimony. Both parents love their child, he states, but fathers tend to express that love in sternness, he writes. By contrast, he paints an idealized vision of maternal love.

‘[T]he mother is always seen as tender, kind, and considerate,’ he writes in the notebook. ‘She never stops concerning her daughters and sons, including their day-to-day living, diet, travel, and all sorts of activities. The mother hugs and kisses her children, sings and reads poems to them, pats them to sleep and plays with them.’

These are affecting words from a man who was separated from his mother at age 2, and who would muse in his autobiography, ‘Although I had so many mothers I never knew any motherly love.’ [14]

His words about marriage take on a similar poignancy, given that both the imperial court and his Japanese masters repeatedly pressured him to marry women he didn’t know or love.

本珍藏所涵蓋的一本手寫筆記，記錄了溥儀所知林林種種的中國 文化，內容涵蓋生育問題乃至神話傳說。這是了解溥儀思想的一扇 珍貴窗口。

溥儀自抵達蘇聯即開始提筆寫稿。蘇軍把他與家人俘虜在赤塔， 然後車往附近的莫洛科夫卡（Molokovka）度假村。別兒面濶夫在 海參崴雜誌《Rubezh》撰寫的文章中，記載溥儀起初害怕會被蘇聯 處決，結果出奇地得到良好待遇，令他大感詫異。

別兒面濶夫引述溥儀在另一本筆記上寫道：「日本將軍......一直在 嚇唬我，說蘇聯的共產主義十分可怕。『在蘇聯，他們會搶劫你的 財物，殺掉你或吊死你』。但在莫洛科夫卡，蘇聯人優待我， 給我食物，甚至重視我。我可以散步。那裏有森林，空氣很清新。 蘇聯人親切有善，臉上常掛笑容。」

後來在伯力，別兒面濶夫讓溥儀書寫關於中國的文章，以減輕他 的寂寞與鄉愁。他在一本作業本上抄滿了中國文化習俗。筆記內容 包羅萬有，東拼西湊，涵蓋中國民間風俗，以及日常生活的大小事項。 紛紜的主題包括傳統生育文化、寡婦再婚、接待客人的禮儀、燒香， 甚至地方美食。

溥儀記錄了一些珍奇食品，例如「未生毛之小鼠用蜜拌好來吃」、 「將貓和蛇同喫者，名為『龍虎鬥』」，但也補注「傳說而已」。

筆記不時流露溥儀情感，最為沁人心脾的部分，莫過於「愛之表現」 一節。溥儀自小與父母親分離，加上幾段不愉快的婚姻，因此讀到 他對人間情愛的種種思考，不禁令人五味雜陳。他寫道：「父母對子女 的愛，本來是一樣的，但是父親的愛中常具一種嚴的表現。」相比 之下，他把母愛描繪得十分完美。

「母親總是特別溫柔而常具一種慈的表示，無論飲食起居，行住 坐臥，母親常是惦念和想各樣安慰的方法來愛他那女兒和兒子。 母親擁抱著和他們的親臉，親嘴或唱各樣詩歌給子女聽，唱歌抱著 他們，一面用手拍子女的身上，令他們睡眠，或給子女講故事， 或同他們一起玩耍。」

這些話，由一個兩歲就與母親骨肉分離的人來宣諸於口，讀來教人 不勝唏噓。他在自傳中說：「我雖然有過這麼多的母親，但並沒有得過 真正的母愛。」

He writes:‘In the old days of China, marriage between a man and a woman was arranged by their parents through a matchmaker. When a couple first meet, they are unaware of the physical outlook and personality of each other, and their feelings towards each other change over the course of marriage. In some cases, love at first sight happens. In other cases, it takes a long time for affection to develop. In the worse cases, disappointment occurs from the first day, or good feelings never accumulate. In these worst, quarrelsome, cases, an ill-fated relationship results. The human relationship is highly tied to and bothered by the rigid society and many rules of old China.’

One also can hear echoes from Puyi’s personal life in a tale he tells from the Song dynasty. It is the story of Xianzhu, a feudal prince’s daughter who falls in love with a poor young man. When her father imprisons her lover and tries to force her to marry a rich man who is ‘ugly, stupid and jobless,’ she commits suicide rather than forsake her lover.

Puyi laments a time ‘where arranged marriage was a custom, [and] a parent must resort to dictate the child’s marriage with absolutely no concession.’

In the section on Jizijin—the collection of blended characters—Puyi offered examples of auspicious words and phrases such as zhaocai jinbao (ushering in wealth and prosperity), huangjin wanliang (10,000 taels of gold), xiqi mantang (the house full of joy), and rijin doujin (receiving ten litres of gold every day).

‘There are plenty of such hybrid characters in China,’ he notes. ‘I hereby record what I know, mainly the popular ones.’

Beyond this notebook, Puyi was known to do other writing in Soviet Union. During language lessons, he jotted about the fate of Russian monarchs. ‘I found interesting data about Russian rulers starting with ancient times in a history manual,’ Permyakov writes. ‘Puyi wrote it down with a wonderful American Parker pen in his notebook.’ [15]

But everything he wrote in Russia remained in that country when Puyi left, his nephew Aisin-Gioro Yuzhan recalls. When authorities announced Puyi repatriation in 1950, the prisoners had to surrender their writing. ‘Even a faint note had to stay in the room,’ he recalls.[16]

The interpreter took Puyi’s manuscripts home and preserved them there until his death, when they passed on to his heirs.

有關婚姻，同樣洋溢淡淡哀愁。清宮與日本先後向他施壓，要他迎娶 素未謀面或毫無感情的女人。他寫道：

「中國舊社會時代，男女的結婚，是根據父母之命，媒妁之言， 而決定的。所以當夫婦初見面時，彼此也不知對方的心情，相貌的 如何，但結婚後的彼此的感情也不一樣。有的是一見面或一談話， 彼此即發生了親愛的關係，有的是必經過長時期，才發生雙方的 感情，有的是一見面就不滿意，或者彼此毫無感情，甚至彼此不和 睦者，亦有之。中國舊社會拘泥舊禮節。」

溥儀摘錄宋代「玉鐲記」，講述一位藩王女兒顯珠與窮小子于明 的愛情故事。藩王監禁了於明，並強迫女兒嫁給一個「相貌醜陋，性格 愚蠢，天天嫖賭，不務正業」的富地主。她寧死不屈，殉情自殺。

溥儀交代了沒有自由戀愛的時代：「在那種專制思想而且個人婚姻 不能自由的時代，凡是對於自己的兒女的婚姻，當然要採取那些獨裁 和絕對的秘密的手段。」

在「集字錦」中，溥儀列舉了一些饒富趣味的字體組合，包括「招財 進寶」、「黃金萬兩」、「喜氣滿堂」、「日進鬥金」。因例子繁多，「今僅 就素知及一般所知者，書錄如左」。

除此筆記本外，溥儀還有其他筆記本。在語言課上，他記下了俄國 君主的命運。別兒面濶夫寫道：「溥儀用一支精美的美國派克筆，在筆 記本內寫上『我在一本歷史書中，發現俄國歷代君主的有趣事跡』。」

1950年蘇聯政府遣返溥儀等人，要求所有隨身物都得留下， 即使一頁筆記，也無法幸免。溥儀侄兒毓嶦在回憶錄《末代皇帝 二十年》中記述：「蘇聯兵的監視下，收拾自己的東西，然後再接受 嚴格的檢查，蘇聯檢查的重點是不許帶走自己寫的東西，即使是 片紙隻字也要留下。」

別兒面濶夫將溥儀的手稿帶回家小心保存，直至逝世後方由家人 繼承。

[15] Permyakov, 293.

[16] Wang Wenfeng, ‘A brief biography of Puyi,’ internal report for Phillips, 2023, 7.

2. Aisin-Gioro Puyi 1906-1967

Manuscript Notebook titled, inscribed and dated 'Emperor Puyi as a gift to G. Permyakov, Puyi, "Essays on China", Spring 1950' on a label affixed to the cover ink and colour on paper

20.5 x 17 cm (8 1/8 x 6 3/4 in.)

Executed in circa 1950.

Accompanied by a leather-bound Confucius’s Analects 10.3 x 7 cm. (4 x 2¾ in.)

愛新覺羅 〮 溥儀

《手稿筆記本》

款識：溥儀皇帝送給 G. Permyakov 的禮物，溥儀，《中國隨筆》，1950年春

(簽於封面標籤)

水墨 顏料 紙本 約1950年作

附 一本皮質封面的孔子《 論語 》

Estimate: in excess of

HK$ 200,000

US$ 25,000

Scan for Full Manuscript Notebook Scan for Translation

A leather-bound Confucius’s Analects

一本皮質封面的孔子《 論語 》

Patek Philippe 百達翡麗 Ref. 96

An epitome of understated elegance and practicality, the Patek Philippe reference 96 is cemented as the archetype of the Maison’s Calatrava line. To many, it was the humble beginning of the ultimate dress watch that is now recognized as one of the most soughtafter timepiece today. A strategic response to the events during the era, the reference began its tale from 1932 during the Great Depression. The global economy was in the worst economic downturn in history in October 1929 when the stock market plummeted. Wall Street was heavily hit by the crash and fell into panic while it wiped out millions of investors. Spiralling into 10 years of recession, investment dropped, consumer spending slowed acutely with unsold goods pilling up, the industrial output steeply declined. Having their timepieces exported internationally, Patek Phillipe & Co took a hit as their stock remained on shelves. Orders dried up and payments failed to materialize, the manufacture found itself on the verge of collapse. Financially troubled, they desperately needed fresh capital, enters their long-standing dial supplier, Cadrans Stern Frères headed by brothers Charles Henri Stern and Jean Stern. In 1932, together the Stern brothers as the new stake holder with an ambition to produces exceptional timepieces brought onboard an experienced technical director from Tavannes Watch Co, Jean Pfister. In need of immediate breakthrough amongst conventional pocket watches and wristwatches in the midst of the financial crisis, the reference 96 was unveiled.

This first novelty to bear a reference number instead of case number, the design came to life under the hands of designer David Penny. Heavily inspired by the German Bauhaus movement (1919-1933) and ideology, the design of Patek Philippe’s first member of the Calatrava family was a game-changer amongst the timepiece of the 30s. Simple, stripped down to the core for modernity and wearability, the design was essentially distilled down to its pure essence, perfectly in line with the philosophy of form follows function. A movement that was widely spread throughout the era by renowned artist and architects like Walter Gropius, Wassily Kandinsky, Paul Klee, Josef Albers. The Bauhaus style embraces simple geometric shapes like rectangles, angular lines and spheres without elaborate decorations. Buildings, furniture and typography often features rounded corners and a minimal approach, the ethos of “only keep what you need”. We can clearly see this influence on the identity of the Ref. 96. Slim profile just 9mm tall, modest 30mm solid round case, clean flat bezel, and simple flat lugs that flows from the case and naturally curves down to the contour of the wrist, it is simply unlike anything else.

A revolutionary wristwatch that was in production for over 40 years until 1973, the three-piece snapped back case were made by case maker Antoine Gerlach marked by key number 4 or Georges Croisier indicated by “FB”. The reference 96 was available in five metals: yellow gold, white gold, pink gold, platinum and stainless steel. During that era, the movement that powered the Ref. 96 during the first two years of production was the manual wound 12-ligne ebauche. In 1934, under the company’s restructuring by the Stern brothers and Jean Pfister’s technical leadership, the first Patek Philippe in-house calibre designed with subsidiary seconds, the 12’’’120 was born.

Equipped within the Ref. 96 were an array of variations such as subsidiary seconds (12-120), no seconds, indirect central seconds (12-120SCi by Victorin Piguet), and offset subsidiary seconds. Sitting atop of each of these variants were dials decorated with charming individuality, from Breguet numerals, baton and even gem-set indexes to gorgeous sector dials. But lo and behold, amongst the reference 96 there is one that stands out as the rarest of all. Blessed with a triple calendar and moon phase, it is the first complication wristwatch serially produced as a reference by Patek Philippe, the Ref. 96 Quantieme Lune.

百達翡麗型號96瑰麗俊逸、莊重沉穩，具劃時代的複雜功能， 是百年經典「卡拉卓華」（Calatrava）系列的原型。對不少人士而言， 這枚正裝手錶發行伊始雖然毫不起眼，現時被公認為當今最受推崇的 時計之一。作為應對出產時期的款式，該型號的故事從1932年經濟大 蕭條時期掀起序幕。1929年10月，股市暴跌，全球經濟處於史上 最嚴重的衰退，華爾街尤其遭受重創，陷入恐慌狀態，數百萬投資者 血本無歸。十年蕭條期間，市場交投淡靜；消費急速放緩，未售出的商品 更是堆積如山，令工業產量急劇下降。

百達翡麗的鐘錶雖已向國際市場出口，品牌因過多庫存而大受 打擊。當時訂單凋零，付款未能償付，公司瀕臨倒閉邊緣。由於經濟 出現困難，百達翡麗急需新資金，其後獲得由查理斯．亨利．斯登

（Charles Henri Stern）及尚．斯登（Jean Stern）兄弟領導的長期錶盤

供應商Cadrans Stern Frères注資。1932年，斯登兄弟作為全新股東，

滿懷生產卓越時計的雄心壯志，聘請了經驗豐富的Tavannes Watch Co技術總監尚．菲斯特（ Jean Pfister）加盟。雖受金融危機 所困，品牌在傳統懷錶和腕錶裡尋求即時突破，型號96亦應運而生。

這是第一款附帶型號的新穎產品，與以往只是附帶錶殼編號不同， 在設計師David Penny的指導下得以實現。深受德國包豪斯運動 （1919至1933年）和其意識形態的啟發，百達翡麗「Calatrava」系列的 首位成員打破常規，設計在1930年代的時計中突圍而出。該款腕錶簡 約樸實，以現代設計和易於佩戴為核心精粹，完全符合「款式追隨功能」 的理念。

包豪斯運動由華特．葛羅佩斯（Walter Gropius）、瓦西里．康定斯基 （Wassily Kandinsky）、保羅．克利（Paul Klee）、約瑟夫．亞伯斯（Josef

Albers）等著名藝術家和建築師極力推崇，風行整個時代。這種風格摒 棄精緻的裝飾，以矩形、角線和球體等簡單幾何形狀為主。這類建築物、 家具和設計通常採用圓角和極簡風格，體現了「貴精不貴多」的精神， 而以上影響在型號96的設計中亦顯而易見。該款手錶的纖薄外形僅 9毫米厚，配以適中的30毫米實心圓形錶殼、流暢的扁形錶圈，以及 簡單的平滑錶耳，其中錶耳隨著錶殼順流而下，自然曲墜到佩戴者 的手腕之上，實屬與眾不同。

這款革命性時計的產期歷時四十多年，直到1973年停產。其三片式 錶殼由錶殼製造商安東尼．格拉赫（Antoine Gerlach）或喬治．蓋西耶

（Georges Croisier）出產，分別以編號4或「FB」為記認。型號96以 黃金、白金、玫瑰金、鉑金或精鋼等五種金屬為原材料。型號96產期的 首兩年間，腕錶搭載手動上鍊機芯「12-ligne ebauche」。在斯登兄弟

和菲斯特的技術領導下，公司於1934年進行重組，第一款配以小秒針 的百達翡麗自製機芯「12'''120」自此誕生。

隨之而來是型號96的一系列功能變化，例如：搭載小秒針（機芯 「12-120」）、無秒針、配備中心秒針（Victorin Piguet研發的機芯 「12-120Sci」）或偏置秒針子盤等。與此同時，錶盤也有獨有的個別 改動，包括：寶璣數字時標、巴頓式時標、鑲寶石時標、華麗的扇面 錶盤等。縱然如此，芸芸型號96腕錶中，「Quantieme Lune」最為稀有。

款式搭載全曆和月相顯示，亦是百達翡麗首款順隨型號生產的複雜 功能腕錶。

Guillermin Adveristments for Patek Philippe in the 1930s. Guillermin 在 1930 年代的百達翡麗廣告。

Photo Courtesy Patek Philippe in America by John Reardon

Puyi admiring his pocket watch.

溥儀在欣賞他的懷錶。

© Palace Museum of The Manchurian Regime 偽滿皇宮博物院

The Emperor & Imperial Watches

Bejewelled watches shaped like winged beetles. Clocks that resemble towers supported by elephants. Pocket watches enamelled with flower designs, or inlaid with diamonds and pearls. From the late Ming to the Qing dynasties, ornate European mechanical clocks and watches became all the rage, overshadowing traditional Chinese timepieces such as the guibiao (sundial), rigui (sundial), louke (water clock), and huntianyi (armillary sphere). In the nineteenth century, the imperial workshop commissioned many similar models. Both functional and artistic, the versatile watches are elaborately decorated. Craftsmen inlaid rare materials such as pearls, diamonds, gemstones, and glass along the outer rim of the watches. Jewellery and Western enamels of dazzling and extravagant colours were used in intricate patterns and captivating pictures. Such watches created at the turn of the century were so timelessly intriguing, future generations of viewers continue to admire their exquisite craftsmanship and technological splendour.

The watches of Puyi and his consorts were mainly in the easy-to-wear category. They consist of wristwatches that are still popular today, exquisitely devised pocket watches favoured by noble gentlemen of that era, and exotic models designed to entertain the aristocracy. There were countless models, each made of precious materials and requiring the skills of profoundly trained artisans to conceive. As a recluse within the imperial palace, Puyi was highly influenced by his tutor, Sir Reginald Johnston. The Scotsman not only sparked Puyi’s interest in Western culture, but inspired a lifelong passion for exquisite watches made in the West.

Puyi’s ever-growing collection included pocket watches, wristwatches, ring watches and spherical watches. He even took jade from the imperial collection and used it to adorn watches, Wang says. Puyi removed a huge trove of treasures when he fled Beijing for Tianjin in the 1920s, Wang states. Because the Patek Philippe watch in this collection was manufactured more than a decade later, it could not have been among the pearls, bracelets, gold watches and other valuables Puyi took from the coffers of Yangxin Dian (The Hall of Mental Cultivation).

In October 1938, Puyi had a vast trove of treasures sent from Tianjin to the Manchukuo Imperial Palace in Changchun, according to Wang. These included important paintings and calligraphy, rare books from the Song and Yuan dynasties, and scriptures from temples. There were also two large vaults installed with 18 small suitcases full of antiques, jades, gold watches and other valuable items.

A collection of pocket watches Puyi brought to Soviet Union.

Palace Museum of The Manchurian Regime 偽滿皇宮博物院

Puyi’s interest in timepieces extended to the gold and silver watches he gave as gifts and awards. For example, top graduates of the Manchurian Military Academy received gold watches. One recipient was a young Park Chung Hee, who later became president of South Korea.[17] Following the Japanese defeat in August 1945, Puyi fled the puppet state palace with all 18 cases of treasures. Most of them came from the imperial collections of the Ming and Qing dynasties, representing the finest examples of Chinese art and heritage. On 17 August 1945, Puyi ordered attendant Li Guoxiong to pack up some pieces from the collection, according to Wang. The treasures Puyi took from Changchun to Dalizi filled a leather suitcase: pearls, diamonds, jades, gold watches, and gold jewellery. The platinum watch was among the final selection that went to the Soviet Union with Puyi. There were countless types and models of these fine watches. The majority of these masterpieces were made in Europe acquired by Puyi and empress consort Wanrong.

Most of the imperial watches collected and used by Puyi are in the collections of the Beijing Palace Museum and the Shenyang Palace Museum. These include a triple-functioned calendar-watch, and Russian- and Swiss-made gold pocket watches. Many of these watches were stashed in his suitcases when Soviet troops captured him in 1945 and brought him to Khabarovsk. Soviet officials allowed him to keep a suitcase with a false bottom hiding precious artifacts. In it he brought his jewellery, his imperial seal, and a state emblem made of diamonds, rubies, emeralds, and platinum birds, Permyakov said. Other valuables included rare gems from the Qing dynasty and an elephant ivory cigarette holder. Citing Russian State Archives, historian Sergei Vladimirovich Karasev says Puyi offered the Soviet Union 10 pocket watches and wristwatches made by different firms. Some of the gold and ‘white metal’ watches were decorated with rare gemstones.[18] While Puyi was in Khabarovsk, his nephew, Yuzhan, sold a calendar-embedded gold pocket watch, originally Puyi’s, to a circus. Soviet authorities also kept gold watches, gold pens, and other treasures. Many, however, were eventually returned to China, Karasev states.

While at the Fushun War Criminals Management Centre, Puyi donated his private stash of jewellery, watches, gold, and silverware to the Chinese government. Today, most of Puyi’s watches are in the collections of the Beijing Palace Museum and the Shenyang Palace Museum. A gentleman of elegant hobbies, a collector, a connoisseur, the last emperor Aisin-Gioro Puyi recognizes beauty when he sees it. One can imagine the present timepiece with imperial provenance differs completely from what was consider conventional back in the days. Absence of extravagantly decorated ornaments or engravings commonly seen on gold pocket watches, the present platinum wristwatch by Patek Philippe—the most prolific icon of horological tradition and innovation—is remarkable.

[17] Wang Wenfeng, ‘A brief biography of Puyi,’ internal report for Phillips, 2023, 7. [18] Georgy Permyakov, Император пуи: пять лет вместе [‘Imperator Puyi. Pyat let vmeste’; ‘Emperor Puyi: Five Years Together’], Rubezh, No. 4 (2003), 279-308.

‘A gentleman of elegant hobbies, a collector, a connoisseur, the last emperor Aisin-Gioro Puyi recognizes beauty when he sees it.’

宛如振翅甲蟲的嵌寶掛錶、鋪張華麗的大象樓閣座鐘、色彩繁富的 琺瑯花卉紋懷錶、鑲滿璀璨鑽石和盈潤珍珠的......明末清初，貴族紳 商爭相追捧歐洲機械鍾錶，令圭錶、日晷、漏刻、渾天儀等傳統華夏時計 日漸式微。十九世紀，清宮造辦處參照西洋鐘錶技術，御製各式各樣的 時計傑作。集藝術與功能於一身，這些錶品極其華麗，多以珍珠、鑽石、 寶石、料石等鑲嵌外緣。

不惜工本的鐘錶製作，講求用料奢華、設計考究，常見精緻細膩的紋飾 圖案、霞光灼灼的華貴珠寶、色澤繽紛的西方琺瑯彩。新舊世紀之交， 這些糅合美學與科學的時計藝術應運而生，時至今日仍風靡萬衆，相信 後世皆會對如此偉大發明津津樂道。

溥儀及其王后妃所使用及珍藏的錶品主要是便於佩戴的一類，涵蓋 至今流行的腕錶、當時紳士必備盈手可握的精緻懷錶，還有供貴族 把玩與消遣的異形錶。其品類紛繁，不一而足，但都是用料珍貴、工藝 精湛的傳世名錶。

溥儀自幼長於深宮，青年時代受到英文老師莊士敦啓發，對西方文化 深感著迷，西洋錶更是鍾愛一生。

王文鋒表示，溥儀藏錶極富，涵蓋懷錶、腕錶、戒指表、球形錶等各式 類型。溥儀還將清宮舊藏的翠玉原料攜帶出宮，根據時人風尚重新設計 成御用表的配件。

王文鋒指出，1920年代，溥儀從北京逃往天津時帶走了大批珍寶。 由於本珍藏中的百達翡麗腕錶製於十多年後，因此溥儀從養心殿寳 庫中帶走的珍珠、手鐲、金錶及其他貴重物品內並不含此錶。

1938年10月，溥儀把天津所存的全部物品運到長春滿州國皇宮， 包括法書名畫、宋元版書、殿版書，還有兩個大金庫，內套十八個小金庫 手提箱，裝滿古玩玉器、金錶等珍寶。

溥儀對金錶、銀錶情有獨鍾，更會作為禮物或獎品送贈別人。例如， 滿洲國軍事學院的優秀畢業生獲贈溥儀金錶，其中一位是後來成為 韓國總統的朴正熙。

1945年8月，滿洲國垮臺，溥儀把寢宮所藏的十八個手提金庫全部 帶走，所裝的多是明清兩朝宮內的至尊瑰寶。

王文鋒表示，1945年8月17日，溥儀吩咐隨侍李國雄挑選從長春帶到 大栗子溝的珍寶，帶走逃亡。所選的珍珠、鑽石、翡翠、貓眼，以及多種寶 石和名貴金錶、金首飾等，足足塞滿一個皮箱。這些珍寶一律隨溥儀到 達蘇聯，包括是次拍賣的白金日曆手錶。

這些名錶的類型及型號紛繁，大多是溥儀及婉容皇后所購藏的歐洲 製品。溥儀所藏和使用的御用宮廷錶，主要藏於故宮博物院及瀋陽 故宮博物院。故宮博院收藏有13件，包括三用日曆手錶、俄國產金 懷錶、瑞士產金懷錶。

1945年，蘇聯軍隊抓獲溥儀並移送他至伯力收容所，其手提箱裏藏有 多枚藏錶。蘇聯官員允許溥儀保留一個設有假底的行李箱，內有珍貴 文物。別兒面濶夫表示，內有溥儀的珠寶、御璽以及由鑽石、紅寶石、 綠寶石和鉑金鳥紋組成的國徽。其他貴重物品包括清宮所藏稀有寶石， 以及一個象牙煙嘴。

歷史學家謝爾蓋．佛拉基米羅維奇．卡拉塞夫（Sergei Vladimirovich Karasev）援引俄羅斯國家文獻庫資料，指溥儀向蘇聯送贈由不同錶厰 製造的十枚懷錶及腕錶，部分金錶及「鉑金」飾有稀世寶石。

被囚伯力期間，溥儀侄子毓嶦把溥儀送給他的帶日曆金懷錶賣給蘇聯 馬戲團團員。蘇聯當局還保留了金錶、金筆和其他寶物。然而，卡拉塞夫 補充，大量珍寶最終被送回中國。

在撫順戰犯管理所期間，溥儀將他私藏的珠寶、手錶、黃金及銀器捐贈 中國政府。溥儀的大部分藏錶現藏於北京故宮博物院、瀋陽故宮博物 院。愛新覺羅．溥儀不僅是舉世知名的末代皇帝，同時是一名風流儒雅 的紳士，以及品味精絕的收藏家、鑒賞家。同一枚稀世腕錶，假若缺少了 如此顯赫、宏大、傳奇的來源故事，將有多失色。有別於金懷錶司空見慣 的奢華鑲嵌及複雜雕飾，此百達翡麗鉑金腕錶含蓄雅致，渾然天成， 是鐘錶史上難能可貴的曠世巨作。

A collection of treasures that Puyi brought to Soviet Union. 溥儀攜帶到蘇聯的珍藏。

© Palace Museum of The Manchurian Regime 偽滿皇宮博物院

‘Back in the Manchukuo period, Puyi wore this exceptional watch day to day. I was particularly fond of it, not only because of its superb quality, but also the fact that it was such a personal item of Puyi!’

Aisin-Gioro Yuyan

《末代皇帝立嗣紀實》愛新覺羅‧毓嵒 作者:賈英華。

A Parting Gift The Watch

饋贈名錶

From the day it was sold in 1937, Puyi’s Patek Philippe Ref. 96 Quantieme Lune wristwatch was of immense value. It is one of only eight such timepieces known (five of them platinum, two gold). Phillips researchers have traced the watch to a sale in Guillermin, a Parisian luxury store then located on Place Vendome, home of some of the world’s leading jewellers.

The documentation is clear that Puyi brought this watch to a Khabarovsk prison camp known as Special Object No. 45 and gave it to Permyakov. This was where the deposed emperor and his entourage were held, along with Japanese officers and Manchurian ministers captured by the Soviet Red Army in 1945. Puyi, as well as the other ranking officials, was accused of being a war criminal.

In his memoir, Yuyan, Puyi’s nephew, states:

‘I was loyal to Puyi during our time in the Soviet prisons, so he rewarded me with a calendarembedded platinum watch which I was, undoubtedly, very familiar with. Back in the Manchukuo period, Puyi wore this exceptional watch day to day. I was particularly fond of it, not only because of its superb quality, but also the fact that it was such a personal item of Puyi!’ [19]

On 31 July 1950, two senior officials approached the former emperor’s cell. As Yuyan recalled, Permyakov interpreted, ‘The Soviet government has decided to let you return to China. You must swiftly pack your belongings and get set now. Hurry up!’

Puyi turned to Yuyan.

‘Do you still have the calendar-embedded platinum watch with you?’ he whispered.

‘Yes, I am wearing it,’ Yuyan answered.

‘Please take it off,’ Puyi said.

Without hesitation, Yuyan removed and returned his cherished platinum watch to Puyi, who passed it to Permyakov.

The Russian slipped the watch into his pocket. Upon his death, he bequeathed the watch to his heirs.

這枚百達翡麗型號96 Quantieme Lune腕錶，自1937年售出那天起， 已具驚人價值。它是目前所知傳世僅有的八例之一（五例為鉑金製， 兩例為黃金製）。富藝斯研究員經深入調查，追蹤到腕錶當時的交易 記錄，是來自專營奢侈品的法國高級名店Guillermin。該店坐落雲集 全球頂級珠寶商的巴黎凡登廣場（Place Vendome），是歷史悠久的 國際名錶舞臺。

文件明確顯示，溥儀把這枚腕錶帶到伯力第45號收容所，最後交給別 兒面濶夫。1945年，蘇聯紅軍攻陷東北，打敗日本關東軍。溥儀宣讀退 位詔書，與近親及隨從計劃逃亡日本，途中被紅軍截獲俘虜，連同一些 日本軍官、滿洲國部長送入此收容所，以候審戰犯身份關押。

溥儀侄子毓嵒在回憶錄《末代皇帝立嗣紀實》中記述：

「在蘇聯時由於我對溥儀忠心耿耿，溥儀親手賞給找一塊鉑金日曆手 錶。這塊手錶我當然很熟悉，那是溥儀在偽滿皇宮時常戴在手上的，不 僅是那塊手錶品質非常好，我特別喜歡，那可是溥儀親自帶過的啊！」 回憶錄又說，1950年7月31日，蘇聯伯力45收容所所長及副所長 突然進入溥儀監倉，由別兒面濶夫傳譯：「蘇聯政府決定讓你們返回 中國。你們現在就收拾行裝，準備出發。你們可要動作迅速些。」

毓嵒記錄他們的如下對話。

溥儀輕聲問：「那隻鉑金日曆表，你還帶著嗎？」

毓嵒：「我帶著呢。」

溥儀：「那你先摘下來。」

「隨之我毫不遲疑的把那只帶著日曆的心愛的鉑金手錶摘了下來， 交到了溥儀手中。沒想到溥儀竟轉手把這手錶遞給了那位蘇聯翻譯 別兒面濶夫。他沒有拒絕，悄悄地擱在了口袋裏。」

[19] Jia Yinghua, Aisin-Gioro Yuyan: A Written Record of Heir Appointment by the Last Emperor, p 124

Aisin-Gioro Yuyan: A Written Record of Heir Appointment by the Last Emperor by Jia Yinghua.

Guillermin advertisement for the Patek Philippe Ref. 96QL in 1937. 1937年Guillermin百達翡麗Ref. 96QL廣告。

The Watch’s Journey: A Hypothesis 大膽假設：

It is a strange twist of horological history that a priceless Patek Philippe Ref. 96 Quantieme Lune would turn up in a rundown Soviet-era apartment in the Russian Far East. The gift of the watch from former emperor Aisin-Gioro Puyi to his Russian interpreter, Georgy Permyakov, in 1950 is clearly documented in Chinese, Russian, and English-language sources. But how did the watch make its way from its manufacture in Geneva to faraway China?

Aurel Bacs, senior consultant with Phillips in association with Bacs & Russo, has a theory. Though his hypothesis is unproven, strong circumstantial evidence suggests that it explains the watch’s remarkable journey. Phillips has traced the watch from its manufacture in Geneva to a 1937 sale in Guillermin, a Parisian luxury store then located on Place Vendome, home of some of the world’s leading jewellers. From there, nobody knew how the watch ended up on the wrist of a Puyi in north-eastern China.

Playing historical Sherlock Holmes, Bacs pieced together a trail of purveyors of luxury goods in China and Southeast Asia. These businesses, including Sennet Frères, were interconnected by family marriages, and their reach stretched from Hong Kong to Paris.

‘Please consider that Guillermin was not only retailer with a shop at 20 Place Vendome, but also the sole importer of Patek Philippe into France,’ Bacs says. ‘This means that they were also supplying to other dealers, and likely to export firms like Sennet Frères.’

Sennet Frères is a 150-year-old Hong Kong watch and jewellery brand. Founded in Paris by Albert Weill in 1870, the firm was a major distributor of luxury watches and jewellery when he brought it to Hong Kong in the 1920s.

‘Puyi was a client of theirs and had 14-karat gold glasses retailed by Sennet Frères,’ Bacs says.

Puyi’s spectacles are displayed in a Sennet Frères case in the Palace Museum in Beijing. He took pride in his American Packard automobile, imported by Levy Frères, also called Levy Hermanos, since the business was anchored in the former Spanish colony of the Philippines. This firm was founded by a merchant family of Jewish refugees from Alsace-Loraine who were connected by marriage to Sennet Frères.

Levy Frères/Hermanos becomes an important link in Bacs’ detective story. ‘They were Patek Philippe retailers, too—in fact, their sole agents,’ he says.

Sennet Frères eventually took over the Levy Freres business in Hong Kong and opened branches in Shanghai and Tianjin. The latter city is where Puyi lived in the Japanese concession after fleeing Beijing in the 1920s.

‘Sennet Freres was still around in the 1970s and was my family’s jeweller,’ recalls Pansy Ku, Phillips’ International Business Development Director for Watches. ‘I remember going to their shop at the Mandarin Oriental Hotel and Marina House in Central. They were a French-Jewish family who had a watch and jewellery company and were the purveyor of fine jewellery and distributor for Patek Philippe and Cartier as well as clocks, etc. Evidence from the various luxury goods come together to suggest a path the watch followed in its journey east. The Packard automobile was ‘probably imported by the same company as his glasses, jewellery and Patek Philippe,’ Bacs says.

[20] Mok, Laramie, ‘Remembering China’s last emperor, Puyi, 50 years after his death,’ South China Morning Post, 17 October 2017, https://www.scmp.com/magazines/style/people-events/ article/2115727/remembering-chinas-last-emperor-puyi-50-years-after.

[21] Flacsu, Pierre-Gilles, ‘Aventures en Extrême Orient’ [‘Adventures in the Far East’], l’atelier de Pierre-Gilles Flacsu, https://www.flacsu.fr/mes-histoires-familialesg%C3%A9n%C3%A9alogie-et-histoire/moments-d-une-recherche/aventures-en-extr%C3%AAme-orient/.

此天價瑰寶百達翡麗型號96「Quantieme Lune」，出現在俄羅斯遠東

地區一間蘇聯時代的破舊公寓中，令鐘錶專家們百思不得其解。

1950年，末代皇帝愛新覺羅．溥儀將之贈予其苏联翻譯官員 格爾基．佩爾米亞科夫（Georgy Permyakov），此深情厚誼之舉，

在中文、俄文和英文歷史文獻中均有詳細記載。然而，這枚腕錶在當時， 是如何從產地日內瓦運送到遠東地區的呢？

富藝斯及Bacs & Russo資深顧問 Aurel Bacs就此提出一個理論： 儘管他的假設未經證實，眾多有力證據闡釋了箇中疑團，足證此重寶之 非凡之旅。根據富藝斯考證，團隊追溯到這枚手錶在日內瓦出產後， 於1937年分銷到巴黎奢侈品商店Guillermin。Guillermin當時位處 雲集全球頂級珠寶商的凡登廣場（Place Vendôme）。此腕錶的下落便 無從得知，關於其如何歸於末代皇帝手中，也頓成謎團。

Bacs決定抽絲剝繭，追根溯源，拼湊出其時中國和東南亞奢侈品供應 商的足跡。這些企業，包括Sennet Frères，通過家族聯姻，使得雙方 關係更為緊密，彼此的業務網絡亦得以從香港延伸至巴黎。Bacs坦言： 「值得注意之處在於Guillermin的業務，他們不僅在凡登廣場20號 設有店舖，更是百達翡麗在法國的唯一進口商。這意味著他們同時向 其他經銷商供貨，尤其是Sennet Frères這類出口公司。」

Sennet Frères是一家擁有150年歷史的香港鐘錶珠寶品牌。該品牌

由Albert Weill於1870年在巴黎創辦，並於1920年代進駐香港，成為 當時奢侈鐘錶珠寶的主要分銷商。Bacs表示：「溥儀是Sennet Frères的 尊貴客戶，擁有品牌發售的14K黃金製眼鏡。」在北京故宮博物院裡， 溥儀的眼鏡置於Sennet Frères眼鏡盒中展示。他尤其鍾情於來自美國 的帕卡德座駕，而該輛汽車正是由Levy Frères進口。Levy Frères又稱 Levy Hermanos，源自曾是西班牙殖民地的菲律賓，乃至品牌名稱富 有該地中海國家的色彩；品牌由來自阿爾薩斯-洛林的猶太裔難民商家 創辦，與Sennet Frères有著姻親關係。

Levy Frères/Hermanos成為證明Bacs假設的重要線索，他說：「他們 也是百達翡麗的零售商，更是獨家經銷商。」Sennet Frères其後接管了

Levy Frères的香港業務，並在上海和天津兩地開設分店，而後者正是 溥儀在1920年代逃離北京後的日租界住所所在地。富藝斯鐘錶部國際 業務發展總監Pansy Ku憶述：「Sennet Frères在1970年代仍有營業，

也是我家族的珠寶商。我記得自己去過他們位處中環文華東方酒店和 公主行（現為置地廣場）的店址，由一個法籍猶太裔家族經營。他們擁有 一家鐘錶珠寶公司，亦是高級珠寶品牌的供應商，以及百達翡麗和 卡地亞等鐘錶廠的經銷商。」

通過各種線索，這枚帝王藏錶的東方行旅之路有跡可循。Bacs續稱： 「上述的帕卡德汽車與溥儀的眼鏡、珠寶和百達翡麗可能由同一家公 司進口。」

Guillermin advertisement for the Patek Philippe Ref. 96QL in 1937. 1937年Guillermin百達翡麗Ref. 96QL廣告。

Photo Courtesy Patek Philippe in America by John Reardon

PATEK PHILIPPE & CO

An exceedingly prestigious, historically important and previously unknown platinum triple date wristwatch with small seconds, moon phases, roulette-dial, enamel Arabic numerals, pink gold Feuille hands, former property of the last Emperor of the Qing Dynasty, Aisin-Gioro Puyi

百達翡麗，首度披露現身於世、極度卓越富含重要歷史意義，型號96QL，鉑金月相小三針 腕錶，備日期、星期顯示、扇面錶盤、玫瑰金柳葉指針、1937年製。清朝末代皇帝愛新覺羅 溥儀藏品。

Manufacturer Patek Phlippe & Co

Year Circa 1937

Reference No. 96QL

Movement No. 198’299

Case No. 294’462

Model Name Calatrava

Material Platinum

Calibre Manual, 11’’’ Victorin Piguet ebauche, jewelled

Bracelet/Strap Crocodile

Clasp/Buckle Stainless steel pin buckle engraved AW

Dimensions 30mm diameter

Signed Case, dial and movement signed

Estimate: In excess of

HKD 25,000,000 ∑ *

USD 3,000,000

THE PRESENT LOT IS A PREMIUM LOT

Accessories

Delivered with the Patek Philippe Extract from the Archives confirming its date of manufacture of the present timepiece in 1929 and its subsequent date of sale 6th October 1937.

Literature

The Patek Philippe 96QL with a roulette dial is prominently illustrated in Patek Philippe Watches Volume II published by Patek Philippe Museum, p. 282

Calatrava Patek Philippe Ref. 96QL with roulette dial known in platinum

Configuration Movement Case Year

Platinum 198’297 294’423 1937

English Calendar, (Sold at auction 2003)

Enamel Arabic roulette dial, Part of the Patek Philippe Museum inverted moon phase Collection

Platinum 198’298 294’461 1937

French calendar, (Sold at auction 1996)

Enamel Arabic roulette dial, Part of a private collection inverted moon phase

Platinum 198’299 294’462 1937 Present Example

French calendar, (Previously Unknown)

Enamel Arabic roulette dial, inverted moon phase

The Dial 錶盤

A magnificent watch. Incredible provenance. Beautiful back story. But what is with that dial? Such were our thoughts at Phillips as the owner of Emperor Puyi’s watch revealed it to us.

The strange dial is the first thing one notices when examining this platinumcased Patek Philippe Ref. 96QL timepiece. The watch, featuring a French calendar, has aged with a fascinating and bizarre patina. But what is most striking is its colour, half off-white, and half brass. Unlike the other two known examples of this model encircled by a pink gold roulette ring, Puyi's timepiece showcases a patina that perfectly aligned to the top edge of the calendar apertures, just above the hour markers of 3 and 9.

Why had somebody altered the watch dial? Was it meant to represent yin and yang—or day and night? We dug in and began investigating this puzzle. And three years on, we have solved the mystery—with the help of a former museum researcher and author who interviewed every close member of Puyi’s family and entourage.

In 1982 Puyi’s long-time servant, Li Guoxiong, discussed this in an interview with Wang. (Puyi repeatedly mentions ‘Big Li’ in his autobiography, From Emperor to Citizen.) In 1924 the 13-year-old Li started working in the imperial palace as Puyi’s servant, writes Wang, who interviewed Li more than 20 times in 1982. Li attended his master for 33 years, until 1957. A versatile craftsman, Li was Puyi’s trusted handyman. The multitalented attendant knew how to take photographs, develop film, and repair cameras. His knowledge of mechanics and machinery also enabled him to fix Puyi’s watches and glasses.

During their five years in the Soviet Union, Puyi had too much time on his hands and was often bored, Li told Wang. He would idle away the time by painting, practising calligraphy, and writing stories from folklore he had learnt. One day Puyi asked Li to open the watch and study its internal mechanisms. Wondering if the dial was made of platinum, Puyi instructed Li to remove the surface of the dial to examine the layers. After Li had meticulously removed the paint, Puyi noticed that the dial was brass, not platinum (unlike the casing). Puyi stopped his servant from further tampering with the watch.

The original state of the dial can be seen from an example published in Patek Phillipe Museum Collection II. Cased in platinum, an off-white sector dial features the signature “PATEK PHILIPPPE & CO GENÈVE” crafted with hard enamel. The technique begins with engraving the letters onto the dial plate before it is painted in black enamel. The dial is then fired to achieve its appearance. The date of the month and time of the day are painted on a satin-finished, rose-coloured ring with white divisions and black outlines. The date is marked with arrow-tipped blued steel hand with optimal legibility. Above the signature floats an inverted gold moon phase across a serene night blue sky. The passage of time is shown with a pair of pink gold Feuille hands harmonized with the accents on the dial.

Thus, the watch bears permanent evidence of the emperor’s idle curiosity—and the trust he placed in his closest servant to investigate the precious timepiece.

這是一枚來歷和故事都非同尋常的腕錶，錶盤狀態的起源更超乎我們 的想像。

此枚帶有法文日曆的型號96鉑金百達翡麗腕錶，因其年代之久已顯示 出迷人而獨特的古銅色彩。它有一個相當不尋常的錶盤。與其它世存的 兩枚已知的同型號腕錶大為不同，錶盤的中央部分被玫瑰金扇形環環 繞，上半面為米白色，下半面為銅色，與日曆顯示窗口的頂部邊緣完美 對齊，位於3和9的小時刻度上方。

這是否會是一個按特殊要求所製作的陰陽錶盤——或是代表白天與 黑夜？富藝斯自接受此腕錶的委托以來，經過長達三年的廣泛調查與 研究以及在前博物館研究員兼作家王文鋒的協助下——終於找到了 答案。

1982年，王文鋒與李國雄進行的訪談中，對此有過交代。李國雄，是 溥儀自傳《我的前半生》多次提及的隨從「大李」。1924年，13歲的他入 宮被聘為溥儀的隨侍，直到1957年33年間，一直緊隨溥儀。王文鋒在 1982年內訪問了李國雄逾20次，形容他「心靈手巧，是溥儀身邊的 能工巧匠。他會照相、洗相、修理照相機、修手錶、修眼鏡，凡是修理 的活溥儀都會找到他。」

王文鋒引述李國雄：「在蘇聯期間，溥儀無所事事，閑極無聊，便去畫畫， 寫藝術字，抄寫一些世俗典故，來打發日子，還做出了許多無聊 怪異的舉動。有一天，溥儀拿著這塊鉑金手錶要李國雄打開來研究 研究它的構造功能。」

「手錶打開後，溥儀就問這錶盤是鉑金的嗎？並讓李國雄拿工具，探個 究竟。移除了涂層的下半部之後，溥儀說底盤都出來了，不是鉑金的，於 是便阻止了他。」

從《百達翡麗博物館藏品二》可以看到該錶盤的原始模樣。鉑金錶殼，扇 形錶盤有燒青字體的長簽名「PATEK PHILIPPPE & CO GENÈVE」。這種 硬質琺瑯的燒青字製造技術是首先將字母刻在錶盤上，然後塗上黑色 琺瑯，再用火燒加熱錶盤使其達到外觀的模樣。從與月份日期平衡的錶 盤外圍開始，一日中的時刻被繪製在帶有白色刻度和黑色輪廓的緞面 玫瑰色圓環上，而藍鋼指針則清晰地標示著月份。位於簽名上方的是一 個倒置的金色月相，恰似橫跨寧靜的夜藍天空。一對玫瑰金柳葉指針顯 示時間的流逝，與錶盤上的裝飾和諧共處。

因此，這枚腕錶永久地證明了皇帝的好奇心——以及他交予他最親近 的僕人來探究這枚珍貴腕錶的信任。

Wang Wenfeng (on right) interviewing Li GuoXiong "Big Li"(on left) in 1982.

1982年，王文鋒(右 )採訪李國雄(大李) (左)。

© Palace Museum of The Manchurian Regime 偽滿皇宮博物院

This legendary Patek Philippe Ref. 96QL with triple date and moon phase is one of the most crucial examples ever to appear in the market. With its pure lines, this timepiece is recognized as the essence of the round wristwatch and one of the finest symbols of Patek Philippe, the Calatrava. Supremely elegant yet simply cased in platinum, its silhouette and large unsigned crown express the aesthetics of Bauhaus and understated functionality. The timepiece measures at 30mm in diameter features the crucial identity of a Ref. 96 – slim, round case, clean flat bezel and tapered lugs. The snap case is extremely well-preserved with its original factory finishes, and it retains its satin polishing. The curved lugs are thick and well-proportioned. The case-maker can be found on the inner caseback, stamped just below its case numbers. The Poinçon de Maître No.4 (known as the ‘Key of Geneva’) was first registered on September 8th, 1934. It is specific to Antoine Gerlach SA based in Geneva. Regulated by the La Fédération Horlogère Suisse, all precious metal cases had to be stamped with the numbered key unique to each case-maker. Antoine Gerlach’s cases can be found widely across Ref. 96, throughout his career, it is believed to have been influential in its design such as another epic reference, the Patek Philippe perpetual calendar, the Ref. 3448 “Padellone”.

A French calendar is exhibited through the two apertures beneath the manufacture’s signature is dated VEN, MAI 19 (Friday May 19), its origin echoes its French platinum mask hallmarks stamped along with FAB. SUISSE inscriptions are preserved in crisp condition on the inner caseback. The mask hallmark (in the form of a Greek male head) was instituted in 1912 to indicate imported platinum items that assayed at a minimum 950 standard. From 1912 to 1926, the mask with contoured outline was used. From 1926 onwards, the mask hallmark within a rectangular frame has been used (present example). Stamped with a “V” Regional Assay Office symbol, the Greek letter is the symbol for Annemasse, Eastern France. Indicated by its oval J G & Cie (Jean Guillermin) hallmark, this is a timepiece sold by Guillermin, the sole French Patek Philippe importer located in Place Vendôme. Three more deep hallmarks can be found throughout the watch: one behind the top left lug, and two stamped along the edge of the inner case.

Extremely rare, throughout decades only two examples with the exact enamel Arabic “Roulette” configuration have surfaced. Both cased in platinum bearing consecutive Victorin Piguet 11’’’ ebauche movements. These movements were produced during the downfall of the global economy in 1929, the beginning of the Great Depression, and therefore were never cased. With the game-changing unveiling of the Ref. 96 as a novelty in 1932, the movement was further upgraded by the manufacturer and fitted into the modernist platinum case of the Ref. 96 with Bauhaus influences. Movement numbered 198’297 with an English calendar, is now part of Patek Phillipe Museum collection, and movement numbered 198’298 with a French calendar was sold in 1996 to a private collector. Previously unknown, the present platinum Ref. 96QL is one of three of such example ever known to the market, and lo and behold, the only one that has not only a provenance, but an imperial one. All three examples date back to 1937 with consecutive movement numbers within close case number proximity. The present example bears a movement numbered 198’299 and a case number 294’462, one number following the example sold in 1996 and is fitted also with a French calendar.

Kept in its original untouched condition, including the strap and buckle with consistent patina throughout, this time-capsule piece comes with incredible historical importance, and is an epitome of its kind. Further cementing its authenticity, the present lot is delivered with the Patek Philippe Extract from the Archives confirming the present timepiece was fitted with a silvered dial, rose gold ring and enamel hour markers. A movement manufactured from 1929, it was later sold on 6th October 1937.

A once in a lifetime opportunity to obtain a timepiece that is worthy of a museum’s collection. For astute collectors, what is presented today is not only about collecting a significant part of Patek Philippe’s history, but world cultural history.

這枚首度披露現身於世的百達翡麗型號96腕錶，配有全曆及月相顯示， 不僅極具傳奇色彩，也富含了該品牌的歷史價值，毫無疑問是最具有傳世 價值也是最重要的百達翡麗古董錶之一。該型號的腕錶所具有的純粹 線條，不僅蘊含了圓形腕錶的精髓，也是最具代表性的百達翡麗 Calatrava 款式腕錶之一。腕錶的鉑金錶殼設計精美，彰顯了至高無上的優雅；其輪廓 及大錶冠洋溢著包豪斯風格和低調的功能性。腕錶直徑為30毫米，具備 型號96的關鍵特徵 - 即纖薄的圓形錶殼和簡潔的平面錶圈及錐形錶耳。 腕錶的原廠錶盤保存完好，錶殼保持了原廠完美的品相，弧形錶耳厚實 勻稱。精細打造的按扣錶殼內在底蓋錶殼編號下方刻有錶殼製作商的專屬 標記：「Poinçon de Maître」（被稱為「日內瓦印記」）。這個首次註冊 於1934年9月8日，其內刻有「4」的鑰匙標記，是專為日內瓦錶殼大師

Antoine Gerlach 使用；因為受瑞士鐘錶聯合會 (La Fédération Horlogère Suisse) 的監管，所有的貴金屬錶殼都必須印上各錶殼製造商獨有的編號 標記。Antoine Gerlach 製作的錶殼時常出現在型號96中。在他整個職業 生涯裡，被認為其設計影響了百達翡麗另一個史詩級的經典型號3448萬 年曆月相腕錶。

位於錶盤上百達翡麗簽名下方的兩個窗口所顯示的是法文日曆，日期為 VEN, MAI 19即5月19日，星期五。它的起源和腕錶內底蓋上保存完好的 FAB. SUISSE 銘文與它的法國鉑金面具印記相呼應。該「面具印記」 （在美學上採用希臘男性頭像的形象）為1912年設立，表明進口的鉑金產 品至少達到950標準。1912年到1926年之間所採用的是輪廓形的面具 印記；而從1926年至今使用的是矩形的面具印記（與此枚腕錶一致）。 印有「V」來作為區域檢驗辦公室標誌的這個希臘字母，代表法國東部的 安納馬斯。而 Guillermin 是法國唯一一家百達翡麗進口商，零售店位於法 國旺多姆廣場，由它進口的時計以其橢圓形的 J G & Cie (Jean Guillermin) 印記為標誌。除此之外該腕錶還有三個印記：一個位於左上錶耳後面，另外 兩個位於內殼的邊緣。

目前曾流入市場的配有阿拉伯數字「輪盤」設計的同型號腕錶僅有兩枚， 可見本款腕錶的珍稀程度。那兩枚腕錶均配有鉑金錶殼，並帶有連續的 11法分的Victorin Piguet ébauche機芯編號。此款機芯於1929年全球經濟 大蕭條期間生產，因此從未上市。隨著1932年型號96的革新亮相，該機芯 也由製造商完成進一步升級後用於本錶。鉑金錶殼內設計精美，洋溢著 包豪斯風格。那兩枚腕錶中機芯編號為198'297的英文日曆腕錶目前為 百達翡麗博物館收藏；而編號為198'298的法文日曆腕錶在1996年由一位 私人藏家購藏。今日的這枚有著同樣配置的鉑金型號96過去從未現身 市場，而且是一枚出自帝王之家的腕錶。以上三枚腕錶都可以追溯到 1937年，並且錶殼的編號非常接近。本錶的機芯編號為198'299，錶殼編號是 294'462，與1996年拍賣售出的那枚機芯編號只相差一位數，並同樣配備了 法文日曆。

本錶的狀況良好，保持了原裝品相以至錶扣和皮帶，宛如一枚古銅色的時 間膠囊，滿載著歷史意義，享有極高的聲望。本拍品隨附百達翡麗後 補證書，確認本次呈現的這枚腕錶的銀色錶盤、玫瑰金時區及琺瑯時標為 1929年製作，其後在1937年10月6日售出。

對於睿智的藏家來說，今日呈現的腕錶不僅是百達翡麗歷史中重要的 一部分，也是珍藏了世界回憶錄的一枚千載難逢、值得在博物館收藏中 欣賞的時計。

Watercolour Paintings

皇親彩繪

Watercolours by Gobulo Runqi, Puyi’s brother-in-law, likewise offer a fascinating glimpse of a palace perspective on the Chinese homeland and culture. It is an idealized vision, but one which dwells on everyday life rather than in the pomp and ceremonies of the imperial court.

The illustrations are often depicted whimsically and with humour. Street barbers trim hair. Revellers perform a dragon dance. Workers saw timber. Farmers haul corn in wheelbarrows. A white-bearded teacher doses at his desk while children run wild around him.

The paintings themselves are annotated throughout in Chinese by Puyi, and Permyakov offered explanatory notes on many of the works in Russian—sometimes on a separate sheet. On one of these, Permyakov credits Runqi and adds, ‘Danming river people: born in a boat, all their lives in a boat, die in a boat.’

One image of portrays a woman and child on a houseboat. The interpreter writes, ‘Puyi said, “If I had real power, I would have given housing to all danmings on land.”’

In several instances Permyakov notes the prisoner’s impressions. On a picture of a junk on the Yangtze River, he inks, ‘Puyi liked this drawing very much.’ Another painting depicts the Temple of the Earth; the interpreter adds, ‘Puyi said, ‘I brought sacrifices here.’”

In an explanatory note about an illustration of an ornate arch, Permyakov explains that in old China a married woman by law could not leave her home. ‘One night there was a fire,’ he notes, ‘and a lady decided to burn alive rather than rescue herself and come out of the gate. … They erected this marble arch to her.’

A painting of a man in a white coat sitting at a desk, undertaken at Puyi’s initiative, is introduced, ‘Puyi’s brother-in-law. Chinese Scientist.’

On the painting itself Permyakov adds, ‘Puyi helped draw this sketch.’

A painting of a girl and two men is labelled, ‘Umbrella and raincoat. Puyi liked the girl under umbrella.’ And a painting of a dragon dance is labelled, ‘Puyi admired this drawing for long periods of time.’ Sometimes simple family life is depicted. A picture from Lunar New Year shows two women making dumplings while a child looks on and a man in traditional garb bows to his ancestors in the next room.

珍藏中涵蓋一批郭布羅．潤麒繪畫的水彩畫。潤麒是溥儀妻舅， 即婉容胞弟，同時是溥儀妹夫，即韞穎丈夫。水彩畫絢麗雋永，題材 紛紜，鮮有地從皇族角度勾勒民間風俗，洵屬難得。畫中景色、 世情，猶如烏托邦式祥和美滿，不是末代皇朝理應留戀的宮廷盛宴、 禮樂儀式，而是庶民生活、人間百態。水彩畫宛轉美妙，滲雜一種 妙想天開的奇趣。從街頭理髮、七彩舞龍、鋸木勞動、農作收成， 乃至私塾裏老師打盹、稚童嬉鬧的歡欣景象，興味盎然。

溥儀在畫中所有景物旁邊都寫上中文注釋，仔細說明一草一木。 別兒面濶夫還為大部分作品加上俄文解釋，有直接寫在畫上，也有另 記於紙上。在其中一作，別兒面濶夫標示它為潤麒所繪，另補充：「蜑民： 生於船，活於船，卒於船。」

其中一幅題為「江上船中居民圖」的畫作中，潤麒描繪一名婦女 與孩子在船上生活的情景。別兒面濶夫的注釋寫道：「溥儀說： 『如果我有真正權力，我會安置船民到陸上舒適的房舍定居。』」 在「長江風船圖」中，注釋表示：「溥儀非常喜歡這幅畫」。在「北京 天壇圖」中，注釋表示：「溥儀說：『我把祭品帶到這裏』。」在「節孝 牌坊圖」中，別兒面濶夫說明畫中宏偉的石牌坊為何物，其注釋表示：「 一天晚上，某家戶發生了一場火災。家中婦人被活活燒死，而不是自救， 走出大門。...他們為她建立了這個節孝牌坊。」

一幅掛著對聯「讀有用之書行無媿之（路）」、描繪「文人書房」畫作中，有 一位身穿長褂的文人在窗邊閱讀。據別兒面濶夫筆記所述，文人 由溥儀負責起稿。其注釋表示：「溥儀妹夫。中國科學家」，又稱： 「溥儀協助繪畫人物草稿。」

在「天氣陰雲降雨圖」中，別兒面濶夫加以標簽標示：「雨傘和雨衣。 溥儀喜歡傘下的女子」。在「耍龍燈圖」中，標簽說：「溥儀一直欣賞 此畫」。

畫作題材亦涵蓋節日習俗，例如在「舊曆年圖」中，兩名婦人在 包餃子，拿著冰糖葫蘆的小孩在一旁看著，隔壁一名穿著傳統服裝 的男士在神位前跪拜祖先。

5. Gobulo Runqi 1912-2007

Chinese Scientist

various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi helped draw this sketch' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "Chinese Scientist", 1945-E [in Russian]' on the reverse ink and colour on paper 31 x 42.5 cm. (12¼ x 16¾ in.)

Executed in circa 1945.

郭布羅·潤麒

《文人書房》

款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀協助繪畫人物草稿。」(由格爾基·別兒面濶夫以俄文標註於右下方); 「郭布羅·潤麒，溥儀的妻舅，《中國科學家》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1945年作

Estimate: in excess of HK$ 20,000

US$ 2,500

‘Puyi helped draw this sketch’

Georgy Permyakov

6. Gobulo Runqi 1912-2007

Dragon Lantern Dance various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi was admiring this drawing for a long period of time.' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "Dragon Dance", 1945-E [in Russian]' on the reverse ink and colour on paper 26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1945.

郭布羅·潤麒

《耍龍燈圖》

款識：愛新覺羅·溥儀以中文標註各種物件及地點；

「溥儀一直欣賞此畫」(由格爾基·別兒面濶夫以俄文標註於右下方);

「郭布羅·潤麒，溥儀的妻舅，《耍龍》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1945年作

Estimate: in excess of HK$ 20,000

US$ 2,500

‘Puyi was admiring this drawing for a long period of time.’

Georgy Permyakov

7. Gobulo Runqi 1912-2007

Playing in the classroom (private primary school) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi loved this card' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "School", 1945-E [in Russian]' on the reverse ink and colour on paper 27.8 x 39 cm. (10⅞ x 15⅜ in.) Executed in circa 1945.

郭布羅·潤麒

《閙學房 (私塾)》

款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀非常喜歡這幅畫。」(由格爾基·別兒面濶夫以俄文標註於右下方); 「郭布羅·潤麒，溥儀的妻舅，《學校》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1945年作

Estimate: in excess of HK$ 20,000 US$ 2,500

‘Puyi loved this card.’

Georgy Permyakov

8. Gobulo Runqi 1912-2007

Lunar New Year

various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Dumplings' and 'Bowing to ancestors' lower centre and lower right respectively by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "New Year", 1945-E [in Russian]' on the reverse ink and colour on paper 26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1945.

郭布羅·潤麒

《舊曆年圖》

款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「包餃子，拜祖宗。」(由格爾基·別兒面濶夫以俄文標註於中下及右下); 「郭布羅·潤麒，溥儀的妻舅，《舊曆年》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1945年作

Estimate: in excess of HK$ 20,000

US$ 2,500

Bowing to the ancestors.’

‘Dumplings,

Georgy Permyakov

9. Gobulo Runqi 1912-2007

Three works:

(i) Arch of chastity and filial piety;

(ii) The Great Wall;

(iii) Temple of Heaven, Beijing

(i) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Initiative. Puyi [in Russian]' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov '"Arch of chastity and filial piety" In Ancient China there was a regulation ‘Gi bu chuu’ — After sunset, married women could not leave the house. There was a night fire and, burned alive, the ladies’ souls could not escape out the gate. ‘Gi bu chuu’ was more important than life. They were granted this marble arch - ‘Phai lo’.", 1945-E [in Russian]' on the reverse;

ink and colour on paper 31 x 42.5 cm. (12¼ x 16¾ in.)

Executed in circa 1945.

(ii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "The Great Wall", 1945-E [in Russian]' on the reverse;

(iii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi said: "Here I made sacrifices" [in Russian]' lower center by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "The Temple of the Earth", 1945-E [in Russian]' on the reverse

ink and colour on paper

42.5 x 31 cm. (16¾ x 12¼ in.)

Executed in circa 1945.

Estimate: in excess of HK$ 30,000

US$ 3,800

郭布羅·潤麒

三件作品: (i)《節孝牌坊圖》(ii)《萬里長城圖》 (iii)《北京天壇圖》

i)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀起草」(由格爾基·別兒面濶夫以俄文標註於右下方); 「郭布羅·潤麒，溥儀的妻舅，《節孝牌坊》，源自中國遠古流傳的『 七不出』

文化。婦女入夜後嚴禁離家，即使房舍失火，被活活燒死，靈魂也會永遠留在家 裏。這些視節孝重於生命的烈女精神，透過豎立『牌樓』長昭後世。」，1945-E」 （格爾基·別兒面濶夫以俄文簽署及標註在畫背）

ii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「郭布羅·潤麒，溥儀的妻舅，《萬里長城》，1945-E」 （格爾基·別兒面濶夫以俄文簽署及標註在畫背）

iii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀說：我把祭品帶到這裏。」(由格爾基·別兒面濶夫以俄文標註於中下方); 「郭布羅·潤麒，溥儀的妻舅，《北京天壇》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背） 水墨 顏料 紙本 約1945年作

‘Puyi said: “Here I made sacrifices.”’

Georgy Permyakov

‘Initiative. Puyi’

Georgy Permyakov

10. Gobulo Runqi 1912-2007

Three works:

(i) The Boat Dwellers;

(ii) Boats;

(iii) Sailing on the Yangtze River

(i) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi said: "If I had real power, I would have given housing to all [Dan Min (Tanka People)] on land." [in Russian]' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov

'Runqi Gobulo, Puyi's brother-in-law,"Dan Min", "River People", Born in a boat, All their lives in a boat, Die in a boat, 1945-E [in Russian]' on the reverse; ink and colour on paper

31 x 42.5 cm. (12 1/4 x 16 3/4 in.)

Executed in circa 1945.

(ii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Pujie loved water [in Russian]' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov

'Runqi Gobulo, Puyi's brother-in-law, "Boats", 1945-E [in Russian]' on the reverse ink and colour on paper

26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1945.

(iii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Puyi said: " I really like this drawing." [in Russian]' lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov

'Runqi Gobulo, "Junks on the Yangtze", 1946 [in Russian]' on the reverse; ink and colour on paper

26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1946.

Estimate: in excess of

HK$ 30,000

US$ 3,800

郭布羅·潤麒

三件作品: (i)《江上船中居民圖》(ii)《船行進圖》(iii)《長江風船圖》 i)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀說：『如果我有真正權力，我會安置蜑民到陸上舒適的房舍定居。』」

(由格爾基·別兒面濶夫以俄文標註於右下方);

「郭布羅·潤麒，溥儀的妻舅，《蜑民》生於船，活於船，卒於船，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背） 水墨 顏料 紙本 約1945年作

ii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥傑愛水」 (由格爾基·別兒面濶夫以俄文標註於右下方);

「郭布羅·潤麒，溥儀的妻舅，《船》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背） 水墨 顏料 紙本 約1945年作

iii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「溥儀說：『 我很喜歡這幅畫。』」(由格爾基·別兒面濶夫以俄文標註於右下方);

「郭布羅·潤麒，溥儀的妻舅，《長江風船》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1946年作

‘Puyi said: “If I had real power, I would have given housing to all [Dàn Mín] on land.”’

Georgy Permyakov

11. Gobulo Runqi 1912-2007

Three works:

(i) Cloudy and Rainy Weather;

(ii) Watermelon stall, Noodles stall;

(iii) Hairdressing, Cart

(i) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "Umbrella and raincoat" Puyi liked the girl under the umbrella, 1945-E [in Russian]' on the reverse

(ii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; signed, titled and inscribed ' Transporting grains, Log sawing' top left and top right by Aisin-Gioro Puyi on the reverse; further signed, titled, inscribed and dated by Georgy Permyakov 'Transporting grains, Log sawing [in Russian]' lower left and lower right on the reverse

(iii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; inscribed 'Runqi Gobulo, Puyi's brother-in-law, 1945-E [in Russian]' top and lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov

'Runqi Gobulo, Puyi's brother-in-law, "China", 1945-E [in Russian]' on the reverse ink and colour on paper each 26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1945.

Estimate: in excess of

HK$ 30,000

US$ 3,800

郭布羅·潤麒

三件作品: (i)《天氣陰雲降雨圖》(ii)《食瓜圖, 賣面食圖》(iii)《理髮圖, 轎車圖》

i)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「郭布羅·潤麒，溥儀的妻舅，《雨傘和雨衣》溥儀喜歡傘下的姑娘，1945-E」 （格爾基·別兒面濶夫以俄文簽署及標註在畫背）

ii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 《推運糧穀圖》《拉鋸圖》 （愛新覺羅·溥儀簽署及標註在畫背左上及右上） 《推運糧穀》《拉鋸》 （格爾基·別兒面濶夫以俄文簽署及標註在畫背左下及右下）

iii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「郭布羅·潤麒，溥儀的妻舅，1945-E」 (由格爾基·別兒面濶夫以俄文標註於右上及右下); 《馬車江岸運輸貨物圖》（愛新覺羅·溥儀簽署及標註在畫背中上） 「郭布羅·潤麒，溥儀的妻舅，《中國》，1945-E」 （格爾基·別兒面濶夫以俄文簽署及標註在畫背）

水墨 顏料 紙本 約1945年作

‘Puyi liked the girl under umbrella.’

Georgy Permyakov

12. Gobulo Runqi 1912-2007

Two works:

(i) Jewelry store tower, The May Banner;

(ii) Tea house and shops

(i) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; signed, titled and inscribed 'Jeweler'and 'May sign' [in Russian]' lower left and lower right by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov 'Runqi Gobulo, Puyi's brother-in-law, "Everyday life of China", 1945-E [in Russian]' on the reverse

(ii) various objects and locales labelled by Aisin-Gioro Puyi in Chinese; signed, titled and inscribed 'Signs' [in Russian]' lower left by Georgy Permyakov; further signed, titled, inscribed and dated by Georgy Permyakov

'Runqi Gobulo, Puyi's brother-in-law, "Everyday life of China", 1945-E [in Russian]' on the reverse ink and colour on paper each 26 x 41.5 cm. (10¼ x 16⅜ in.)

Executed in circa 1945.

Estimate: in excess of HK$ 20,000

US$ 2,500

郭布羅·潤麒

兩件作品: (i)《金店首飾樓圖, 五月幟》(ii)《茶食商店圖》

i)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「珠寶商」及「照牌」(由格爾基·別兒面濶夫以俄文標註於左下及右下方); 「郭布羅·潤麒，溥儀的妻舅，《中國的日常生活》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背）

ii)款識：愛新覺羅·溥儀以中文標註各種物件及地點； 「照牌」(由格爾基·別兒面濶夫以俄文標註於左下方); 「郭布羅·潤麒，溥儀的妻舅，《中國的日常生活》，1945-E」

（格爾基·別兒面濶夫以俄文簽署及標註在畫背)

水墨 顏料 紙本 約1945年作

Biographies

簡介

Aisin-Gioro Puyi 愛新覺羅 〮 溥儀

In March 1914 the Chicago Tribune published a story that reflected the world’s fascination with a mysterious child living in imperial splendour in Beijing’s Forbidden City.

‘Puyi: The Loneliest Boy in the World,’ the headline read.[1]

Former emperor Aisin-Gioro Puyi—deposed just two years earlier—was then 6 years old, and living in opulent isolation from most children his age. He was the final monarch in the 267-year Qing (Manchu) Dynasty rule.

Born 7 February 1906 in the Prince Chun Mansion, Puyi ascended to the dragon throne in 1908 upon the death of his uncle, the childless Guangxu Emperor. China’s shadow ruler, Empress Dowager Cixi, named him supreme ruler at 2 years old (3 years old for norminal age).

Courtiers snatched the toddler away from his family and brought him to the palace to become the Son of Heaven, an emperor of absolute power—if only within the Forbidden City. Though the Xinhai Revolution forced his abdication on 12th February 1912, little changed in his isolated life.

As others engaged in a political struggle over the fate of the monarchy, the boy was mostly kept in the dark. Much of his time was divided between ceremonies of state and lessons with traditional Chinese and Manchu tutors. He made pets of ants and worms, played with camels, and watched fights between dogs and bulls. In July 1917 viceroy Zhang Xun reinstated the 12-year-old Puyi as emperor.

Suddenly imperial dragon flags appeared everywhere in Beijing, people pulled mothballed court outfits out of closets, and customers thronged to theatrical costume stores buy horsetail queues—a hairstyle favoured by the court.[2] But the restoration lasted just 12 days before Puyi’s second abdication.

Puyi’s worldview expanded in March 1919 with the appointment of a Scottish tutor, Sir Reginald F. Johnston. Brought to the palace to teach the former emperor English, he became far more than a language instructor. He taught Puyi about geography, customs of other lands, post-World War I politics, and the British empire.

‘By my last year of studying in the Yuqing Palace Johnston had become the major part of my soul,’ Puyi writes.[3]

During this period Puyi acquired a telephone for the first time and ‘made abundant use of his new plaything,’ Johnston writes.[4]

Early in 1921 the palace high consorts decided that the 15-year-old Puyi should choose a wife. Without meeting the candidates for marriage, the near-sighted youth was given four photos to choose from. ‘To me the girls seemed much the same and their bodies looked as shapeless as tubes in their dresses,’ Puyi would write. ‘Their faces were very small in the pictures so that I could not see whether they were beauties or not.’[5]

His first choice, a 12-year-old noble named Wenxiu, sparked a squabble in the imperial court. Others advised him to choose Wanrong, who was Puyi’s age. Eventually, the court decided Wanrong would be his wife and Wenxiu his consort.

(Wenxiu divorced him in 1931, the first imperial consort in Chinese history to do so.[6] Wanrong became an opium addict, dying in prison in 1946.)

On 5 November 1924, after being expelled from the Forbidden City, Puyi secretly found refuge in the Japanese legation in Beijing, soon heading to the Japanese concession in Tianjin.

The Loneliest Boy In The World,’ Chicago Daily Tribune , 15 March 1914, B9.

Aisin-Gioro Pu Yi, From Emperor to Citizen. Translated by W.J.F. Jenner, Oxford University Press, 1987, 92. [3] Aisin-Gioro Pu Yi, From Emperor to Citizen, 115. [4] Johnston, Reginald F., Twilight in the Forbidden City. Victor Gollancz Ltd, 1934, 271. [5] Aisin-Gioro Pu Yi, From Emperor to Citizenn, 117-118.

[6] Li Yuqin, ‘My Life in the Imperial Palace,’ Chinese Studies in History, Vol. 19, No. 4, 1986, 82-101.

Behr, Edward, The Last Emperor. Toronto: Bantam Books, 1987, , 294. [8] Behr, Edward, The Last Emperor, 293 [9] Aisin-Gioro Pu Yi, From Emperor to Citizen, 466-467.

Shortly after the Japanese invasion of Manchuria in the Mukden Incident in September 1931, the occupying Kwantung Army appointed Puyi chief executive of the puppet state of Manchukuo. He was crowned for a third time in 1934 and remained there until the end of World War II. However, China suffered tremendously under Japanese occupation and during the Second Sino-Japanese War (1937–1945), and both the Nationalist government and the Chinese Communist Party regarded Puyi’s collaboration as a war crime.

On 15 August 1945 Japan capitulated to the Allies and announced its unconditional surrender, thereby dissolving the state of Manchukuo. The Soviet Army captured the puppet emperor as he was trying to flee China and brought him first to Chita, Siberia, and then Khabarovsk in the Russian Far East. Terrified of falling into Chinese hands, Puyi repeatedly appealed to Kremlin to let him stay.

While Puyi was in Khabarovsk, Georgy Permyakov served as his interpreter. Permyakov had grown up in China and spoke the language fluently. Over Puyi’s five years of captivity, the men became friends, Permyakov’s family has said. Permyakov also taught the prisoner Russian and Communist party history and doctrine, and he interceded on Puyi’s behalf on several occasions.

In 1946 Puyi created a stir when he testified as a prosecution witness against his former Japanese masters in the International Military Tribunal of the Far East in Tokyo. But although he remained in Russia for another four years, Soviet leader Joseph Stalin agreed to repatriate the prisoner after the communist victory in China. In 1950 Puyi was returned under guard to his homeland. On his last day in the Soviet Union, in 1950, the departing prisoner would give Permyakov his Patek Philippe Quantieme Lune watch.

Puyi was detained in the Fushun War Criminals Management Centre. Party leaders saw his imprisonment as a chance to prove they could reform even an emperor. In this the Chinese differed from the Russian Bolsheviks, who executed their tsar and his family in 1918. Citing an interview with prison governor Jin Yuan, Puyi biographer Edward Behr says the Public Security Bureau had orders to accomplish Puyi’s ‘remoulding’ as quickly as possible. Behr writes that ‘from the start, and perhaps understandably so, the Chinese Party leaders intended to use Puyi’s “born again” conversion for ideological purposes.’[7]

Jin Yuan protected Puyi from bullying and became another in a string of teachers— including Johnston and Permyakov—who helped shape the emperor in an alien world. Puyi depended on the prison official ‘in the same way a patient depends on his analyst after years of therapy’.[8]

In September 1959, in honour of the tenth anniversary of the founding of the People’s Republic of China, Mao Zedong ordered special pardons for ‘a number of reformed war criminals, counterrevolutionaries and common criminals. … It will enable them to realize that under our great socialist system their future lies in reform.’ The Supreme People’s

Court made official the pardon to Puyi, announcing his release in December 1959.[9]

Returning to Beijing, Puyi worked at the Beijing Botanical Gardens, then was appointed as a researcher with the National Committee of the Chinese People’s Political Consultative Conference. He also completed his autobiography with the help of Li Wenda.

In 1962 Puyi met Chairman Mao, marking his ultimate rehabilitation by the state. That same year the former emperor married Li Shuxian, a nurse. Puyi died of kidney cancer and uremic syndrome in 1967 at age 61.

1914年3月，《芝加哥論壇報》刊登一則報導，描述紫禁城內某神秘小 孩的帝王式奢華生活，令寰宇嘖嘖稱奇。

「溥儀——世上最寂寞的男孩」，標題寫道。

此前兩年，即1912年，6歲的宣統皇帝愛新覺羅．溥儀被迫退位，結束 國祚長達267年的清朝。溥儀遜位後，雖仍衣食無憂，但與世隔絕，與 同齡兒童的成長經歷有著天淵之別。

1906年2月7日，溥儀在醇親王府出生。1908年，無後嗣的光緒皇帝駕 崩，年僅三歲的侄兒溥儀由長期垂簾聽政的慈禧太后擁立繼位。

尚在孩提階段的溥儀，被家臣從生母懷中奪去，抱入皇城靜候登極， 成為一朝天子。有別於歷代皇朝，溥儀的皇權僅限於宮內，形同虛設。 辛亥革命爆發，清廷被推翻，溥儀在1912年2月12日宣佈退位，但宮 禁生活依舊。

皇朝崩毀，宮外烽煙四起，朝中上下在亂世中急求出路，唯獨這位童 孺被蒙在鼓裏。溥儀學習宮廷禮儀，由傳統漢、滿人帝師授課。他與蟲 蟻為伍，駱駝為伴，愛好鬥狗鬥牛。

1917年7月，張勳復辟，12歲的溥儀再次稱帝。

一夜間，黃龍旗再度掛滿京城，家家戶戶從衣櫥翻出滿服，已剪辮的 男子爭相搶購假髮。復辟歷時不足兩周，溥儀再度退位。

1919年3月，蘇格蘭學者約翰．弗萊明．莊士敦（Reginald Fleming Johnston）爵士被任命為溥儀老師，在宮內親授英語、地理、世界史等 科目。莊士敦傾囊相授，向這位求知若渴的蒙童講述異國風俗、一次 大戰後的政治局勢、大英帝國歷史等知識見聞。二人天南地北，無所 不談，建立亦師亦友的摯情。

溥儀在自傳中憶述：「在毓慶宮的最後一年，莊士敦已是我靈魂的重 要部分。」

莊士敦曾記載，溥儀喜獲首部電話，以及各式各樣的新潮玩物。

1921年初，15歲的溥儀被宮中太妃安排選妻。這位患有近視的適婚少 年，收到四張素未謀面的佳麗照片。溥儀記述：「在我看來，四個人都 是一個模樣，身段都像紙糊的桶子。每張照片的臉部都很小，實在分 不出醜俊來。」

溥儀首選12歲的文繡，但因有太妃不滿，選出同齡的婉容。宮內達成 共識，溥儀封婉容為皇后，文繡為淑妃。

1931年，文繡提出與溥儀離婚，此舉在中國史無前例。婉容沉迷鴉 片，1946年死於獄中。

1924年11月5日，被逐宮外的溥儀佯裝平民，經北京日本大使館逃往 天津日租界。

1931年「九· 一八」事變後，控制東北的關東軍扶植溥儀為滿洲國 執政。1934年，溥儀第三度登極，成為有名無實的傀儡皇帝，直至二次 大戰結束。中國在抗日戰爭（1937-1945）中傷亡慘重，國共兩黨皆視 溥儀的投日舉動為戰爭罪行。

1945年8月15日，日本向盟國宣佈無條件投降，滿洲國瓦解。溥儀計 劃逃亡日本，途中被蘇聯紅軍截獲，押解為戰俘，先後囚禁在西伯利 亞赤塔及遠東伯力。溥儀害怕返回中國會被追究，多次向蘇聯政府申 請永久居留。

溥儀被囚伯力期間，由格爾基．別兒面濶夫（Georgy Permyakov） 擔任翻譯。別兒面濶夫在中國成長，能操流利漢語。溥儀在囚五年間， 二人經常接觸，遂成朋友。據別兒面濶夫後人所述，他在獄中教授俄 國歷史及共產黨理論，曾多次為溥儀解難。

1946年，溥儀前往東京遠東國際軍事法庭作證，轟動全球。四年後， 中共建國，蘇聯政府斯太林決定遣返溥儀。

1950年，溥儀離開蘇聯前夕，把一枚百達翡麗Quantieme Lune腕錶 贈送別兒面濶夫。

中共押回末代皇帝，但有別於1918年處決沙皇的蘇共，中共給予溥儀 一個重生機會。溥儀被引渡回國後，在撫順戰犯管理所接受勞動教育 及思想改造。溥儀傳記作者愛德華．貝爾（Edward Behr）曾訪問管理 所所長金源，引述其話指公安局下令儘快完成溥儀的改造工程。貝爾 寫道，打從一開始，也是大衆預期之內，中國政府即以改造溥儀作為 實踐意識形態的任務。

繼莊士敦及別兒面濶夫後，金源成為溥儀的人生導師。已淪為庶民的 末代皇帝，在獄中得到金源的庇護，免受其他囚犯欺負。溥儀對這位 所長十分依賴，如貝爾比喻，就像長期病患者依賴治療師一樣。

1959年9月，為紀念中華人民共和國成立十周年，毛澤東批准特赦 一些改過自新的戰犯、反革命分子及普通刑事罪犯，向世界宣示社會 主義制度可讓人改惡從善，重建前程。1959年12月，最高人民法院 正式通過特赦令，宣佈釋放溥儀。

回京後，溥儀在北京植物園工作，其後成為全國政協文史資料研究 委員會專員。他由李文達協助撰寫自傳。

1962年，溥儀會見毛主席，標誌著末代皇帝已完成徹底改造。同年， 溥儀與護士李淑賢在北京結婚。

1967年，溥儀因腎癌及尿毒症病逝北京，享年61歲。

Biographies 簡介

Georgy Georgievich Permyakov

格爾基．別兒面濶夫

After the Soviet handover of Puyi to Chinese soldiers in 1950, Georgy Permyakov— interpreter for the former emperor—heard nothing about his charge for many years.

Together for five years, the interpreter became Puyi’s teacher and friend. He taught the imprisoned emperor his language and culture, and they even travelled to Tokyo together.

This unlikely relationship had its roots in Permyakov’s personal history. Georgy Georgievich Permyakov (1917–2005) was a historian, science fiction writer, and translator who had grown up in China.

He was born November 1917—weeks after the Russian Revolution—in the Far Eastern city of Nikolsk-Ussurisky, now known as Ussurisk. His father was a pharmacist and businessman who owned a soap factory, his mother an aristocrat from the Black Sea city of Sochi.[1]

In 1921 the Bolsheviks seized his father’s business, and the Permyakovs fled to Tianjin, China. Puyi was living there after escaping Beijing, and the Russian would later recall that he had encountered the former emperor in a park, the Permyakov family said.

In 1927 his family moved to Harbin, a northern Chinese city with a large Russian expatriate population, Permyakov attended the Dostoevsky Gymnasium and Oksakovskaya Gymnasium. He wrestled, boxed, sailed with the yacht club, and played the violin and the piano. From 1935 to 1940 he studied at the Institute of St. Vladimir in the department of Oriental and Commercial Sciences.[2]

Permyakov learned Japanese in childhood at the insistence of his mother. He would eventually speak six languages, also mastering English, Latin, and German. In 1937 Permyakov began offering private courses in Japanese and Chinese. Within two years, he was teaching Oriental languages at the Soviet consulate.

During the war he intercepted Japanese radio messages from the consulate, according to his letters. Figuring out that Permyakov was responsible, the Japanese military tried to assassinate him by chasing him in a car down a dead-end street, intending to crush him against a cast-iron fence, he recalled. An athlete, he leaped over the 1.9-meter barrier and escaped. (He returned the next day to measure the fence.)[3]

On 8 August 1945, the Soviet Union declared war on Japan. The next day, Permyakov, along with other Soviet subjects, was arrested and jailed. They were saved by Emperor Hirohito’s announcement of surrender.

On 2 November of that year, Permyakov arrived in Khabarovsk with the first group of translators. He was joined by his wife, Rimma Omelchuk, a translator of Chinese and Japanese who also came from Harbin. He was appointed senior interpreter at Special Object No. 45, the camp where Puyi and other accused war criminals were held, along with Japanese prisoners.

Permyakov taught the former emperor Russian, as well as communist history and doctrine. He also worked as a translator for a Soviet investigation into the Japanese development of bacteriological weapons in China during World War II.

After Puyi’s repatriation in 1950, Permyakov remained in Khabarovsk, teaching Oriental languages. Under the pseudonym Georgy Lanin, he wrote several novels with elements of science fiction, among them Blue Tarantula (1957) and The Red Mask (1957-1958 ).[4] Several of his books, however, were repressed after appearing, and planned print runs were cancelled.

In 1965 the Khabarovsk Book Publishing House published his book The Threshold of Ginseng: Stories and Essays on B. K. Arseniev. He also wrote stories and essays on nature and the history of the Russian Far East, including Tiger Stone (1974).

Throughout his life, he got up at 5 a.m. and engaged in physical exercises, then worked until late in the evening. He liked to say, ‘I have not had a single day off in my life.’[5]

A list of maxims he wrote for his grandson offer glimpses into his life. Avoid rubber shoes and wear cotton socks. Be restrained, do not shout, do not scold. Don’t drink. Don’t smoke. Sleep on the balcony (Permyakov did so even in winter). Love nuts— they’re a source of strength. Stand on public transportation (to train your legs). Protect girls fearlessly.

‘Remember,’ he wrote, ‘a person can live 100 days without food, 10 days without water, only 4 minutes without air. … Love clean air—mountain, steppe, forest, river. Seek clean air and breathe it deeply. May you live long.’[6]

His family recalled him confronting men who harassed women on streetcars. He was unafraid of bullies. Once a drunk sprang out at Permyakov and his wife, swinging a board with nails sticking out. The translator removed his hat, knocked the bully out, and donned his hat again.

People rushed out and began to shout, ‘He deserved it!’ It turned out that this drunk had been terrorizing the street for more than a year.[7]

Permyakov was a teetotaller and non-smoker who clashed with the writers’ union when he refused to contribute a required three roubles to buy alcohol. But he said he was vindicated in the end: ‘I buried 16 members of the Khabarovsk branch of the Union of Writers who participated in my persecution. 12 of them died of alcoholism,’ he writes.[8]

Georgy Permyakov died in December 2005 at age 88.

‘Georgy Permyakov: senior translator in Special Object № 45,’ [Георгий Пермяков - старший переводчик

№ 45, Georgy Permyakov: starshii perevodchik na spetsobekte № 45)] https://dzen.ru/a/ YKRd_tAMtT_L_Wn-, 18 May 2021. Accessed 2 April 2023.

[2] ‘Georgy Permyakov: senior translator in Special Object № 45.’ [3] Georgy Permyakov, ‘I am for freedom of speech…,’ [«Я за свободу слова…», ‘Ya za svobodu slova…’], Debri, http://debri-dv.com/m/article/16629/georgiy_permyakov_ya_za_svobodu_slova, June 2017, accessed 2 April 2023. [4] ‘Georgy Lanin—about the writer’ [Георгий Ланин — о писателе, Georgy Lanin — o pisatele], https://www.livelib.ru/author/320378-georgij-lanin. Accessed 2 April 2023. [5] Pronyakin, Konstantin, ‘ANNIVERSARY: On the anniversary of the Khabarovsk regional historian Georgy Georgyevich Permyakov (1917–2005 ) [ЮБИЛЕЙ: К юбилею хабаровского краеведа Георгия Георгиевича

Пермякова (1917–2005), YUBILEI: K yubileyu khabarovskogo krayeveda Georgiya Georgiyevicha Permyakova], Приамурские ведомости, Priamurskie Vedmosti, https://vk.com/@priamurka27-ubilei-k-ubileuhabarovskogokraeveda-georgiya-georgievicha, 29 November 2022. Accessed 2 April 2023.

[6] ‘From the personal

1950年，蘇聯把溥儀移交解放軍。此後多年，末代皇帝的翻譯——別兒 面濶夫，甚少聽聞對溥儀的指控。

此前五年間，別兒面濶夫和溥儀經常接觸，亦師亦友。他向身在獄中 的皇帝傳授俄語及文化，甚至同渡東京。

一切源自別兒面濶夫的傳奇故事。格爾基．別兒面濶夫（1917-2005） 成長於中國，是一名歷史學家、科幻小說作家兼翻譯家。

1917年11月，俄國革命後數週，別兒面濶夫於遠東城市尼科爾斯克烏蘇里斯克（現稱烏蘇里斯克）誕生。他的父親是一名藥劑師及商人， 擁有一家肥皂廠；母親是黑海索契貴族。

1921年，布爾什維克搶奪別兒面濶夫父親生意，一家流亡天津。其家 族後人說，溥儀被逐出紫禁城後避居天津。別兒面濶夫憶述，曾在一 個公園裡遇到這位末代皇帝。

1927年，別兒面濶夫一家搬到哈爾濱。當地有大量俄羅斯僑民。別兒 面濶夫入讀陀思妥耶夫斯基體校，以及奧克薩科夫斯卡亞體校。在此 處學習摔跤、拳擊、航海、小提琴及鋼琴。1935至1940年，他在聖弗拉 基米爾學院修讀東方及商業科學。

年幼的別兒面濶夫，在母親支持下學習日語。他最終能操六種語言， 精通英語、拉丁語及德語。1937年，別兒面濶夫開始私人執教日語及 漢語。兩年後，他受聘於蘇聯領事館教授東方語言。

據別兒面濶夫的信件記錄，戰爭期間，他曾在蘇聯領事館截獲日本無 線電資訊。其憶述，日本軍方發現他的行為後，試圖暗殺他，開車追至 死胡同，欲讓他在鑄鐵欄上粉身碎骨。所幸別兒面濶夫體能極佳，跳 過接近兩米高的圍欄，逃出生天。(翌日他重回現場測量圍欄高度。)

1945年8月8日，蘇聯對日本宣戰。翌日，別兒面濶夫與其他蘇聯情報 對象被逮捕和監禁。裕仁天皇宣佈投降後，一干人等獲救。

同年11月2日，別兒面濶夫與第一批翻譯人員抵達伯力。他任職中日 文翻譯的妻子莉瑪．奧梅竹（Rimma Omelchuk）也從哈爾濱趕至。他 被任命為第45特別營的高級翻譯。溥儀、其他滿洲國戰犯，以及日本 戰犯皆被囚禁該營。

別兒面濶夫教授末代皇帝俄語，以及共產主義歷史及學說。他為蘇聯 對二戰期間日本在華研究細菌武器的調查擔任過翻譯。

1950年，溥儀被遣返中國，別兒面濶夫留在伯力，教授東方語言。 他以（Georgy Lanin）筆名撰寫科幻小說，包括《藍色狼蛛》（Blue Tarantula，1957年）、《紅色面具》（The Red Mask，1957-1958年）。然 而，數本著作受打壓，出版計劃告吹。

1965年，伯力出版社（Khabarovsk Book Publishing House）出版了 他的《人參的門檻：關於B.K.Arseniev的故事和散文》（The Threshold of Ginseng: Stories and Essays on B. K. Arseniev）。他涉獵的題材包 括自然世界和俄羅斯遠東歷史，曾出版的散文集包括《老虎石》（Tiger Stone，1974）。

別兒面濶夫畢生堅持清晨五時起床，恆久鍛煉身體，每天工作至深 夜。他常言：「我這輩子，沒有休息過一天。」

從他送給孫兒的人生格言中，可一瞥其品性——「避膠鞋，穿棉襪。自 我約束，不叫喊，不責駡。不喝酒。不抽煙。睡在陽臺（別兒面濶夫即使 冬天也保持這個習慣）。多吃堅果——它們是力量之源。乘搭公共交通 工具時，保持站立（以訓練腿部）。保護女孩，無畏無懼。」

他寫道：「請記著，人類的生存上限是——飢腸100天，口渴10天，閉氣 4分鐘。......熱愛清新空氣——山區、草原、森林、河流。尋找潔淨空氣， 深深呼吸。願你長命百歲。」

別兒面濶夫的家人憶述一則往事。某天他目睹電車上有癡漢騷擾女 性，即二話不說地上前喝止。又有一次，一個醉漢突然衝向別兒面濶 夫和妻子，揮舞滿布鐵釘的木板作虎諕狀。別兒面濶夫摘下帽子，勇 猛地打暈惡棍，從容地戴回帽子。

群衆湧上前大喊：「醉漢活該！」。原來那名酒鬼擾民逾年，惡名昭彰。 別兒面濶夫不煙不酒，曾因拒絕捐出3盧布買酒，與作家聯盟發生衝 突，最後得到平反：「曾迫害我的作家聯盟伯力分部中，有16名成員由 我蓋棺，當中12人死於酗酒。」

別兒面濶夫於2005年12月去世，享年88歲。

Biographies 簡介

Gobulo Runqi 郭布羅·潤麒

Gobulo Runqi was born in Beijing 8 July 1912, a year after the Revolution overthrew the Qing dynasty and founded the Republic. He came from the Gobulo clan, a family closely linked to the imperial house of Aisin-Gioro. In 1922, his sister Wanrong married Aisin-Gioro Puyi, the last emperor of the Qing Dynasty. Runqi began spending time in the Forbidden City, gaining Puyi's affection.

His access to the throne gave him a close-up perspective on the unhappiness of his sister, who cried the day she left home for the Forbidden City. He said, 'Sister may be the most unfortunate queen. She does not even have the freedom and normal family life that an ordinary woman in the private sector should enjoy. '[1]

In 1932 Runqi married Puyi's third sister, Yunying, in Changchun, where Puyi would be crowned puppet emperor under Japanese occupiers. This made him 'a double brother-in-law,' related to the emperor through both his wife and his sister.[2] Less than a month after their marriage, Puyi sent the couple to Japan to study military tactics. Pujie, Puyi's younger brother, accompanied them. Runqi later returned to China and served as Puyi's attendant military attaché in Manchukuo.

With Japan's defeat in 1945, Soviet Red Army captured Puyi and other family members, including Runqi, and took them to a prison camp of Khabarovsk, where they stayed for five years. In 1950 the Soviets repatriated Puyi and his family members to China. Authorities imprisoned Runqi and Puyi in the Fushun War Criminals Management Centre in Liaoning. Runqi was released in 1957, two years before the former emperor.

At age 45 Runqi reunited with his wife and three children in Beijing, where he held various manual labour jobs. When the Cultural Revolution began in 1966, Runqi's imperial background ensured that he was labelled as a counterrevolutionary. He was sent to Mentougou, in the remote western outskirts of Beijing, to be re-educated among the peasants. Troubled by a lack of medical facilities there, Runqi began to treat villagers by applying his knowledge of acupuncture and moxibustion acquired in Japan.

'His healing power became legendary after peasants saw him talking to the cow he was assigned to look after,' a reporter later wrote. 'Soon the cow obeyed him like a dog, sitting down on his order. '[3]

In 1978, after the Cultural Revolution, the Communist Party assigned the 66-year-old Runqi to work at the Institute of Legal Research in the Chinese Academy of Social Sciences. He was later elected as a member of the National Committee of the Chinese People's Political Consultative Conference and won the Outstanding Social Contribution Award.

In 1987 director Bernardo Bertolucci hired Runqi as consultant to his Oscarwinning film 'The Last Emperor.' After his retirement in 1994, at the age of 82, Runqi opened his private Guo's Clinic in his home, practicing traditional Chinese medicine. Runqi died 6 June 2007 at age 95 in Beijing.

1912年7月8日郭布羅．潤麒生於北京。前一年，辛亥革命推翻了清政府， 成立了共和政體。

潤麒的家族郭布羅與愛新覺羅王室關係密切：1922年，末代皇帝 愛新覺羅．溥儀迎娶其胞姊婉容為皇后，為潤麒「紫禁城時光」之肇事， 他與溥儀私交甚篤。

與皇帝的緊密關係令潤麒得以近距離見證姐姐的悲楚。就在婉容離家入宮 當天，她傷心痛哭。他憶述：「姐姐可能是最不幸的一位皇后......她甚至連民間 一個普通女人應當享有的自由和正常家庭生活的權利都沒有。」 1 1932年，潤麒在長春與溥儀的三妹韞穎結婚，後來溥儀在長春被日寇加冕 為傀儡皇帝。如此雙重關係使本為「皇帝內弟」的他添上「皇帝妹夫」的身分。2 婚後不足一個月，溥儀派送這對夫婦赴日學習軍事戰術，由溥儀胞弟溥傑 陪同。潤麒及後回國，擔任溥儀的滿洲國侍從武官。

1945年，日本戰敗，蘇聯紅軍截獲溥儀和包括潤麒在內的皇親國戚， 並將他們囚禁於伯力一個蘇聯監營約五年之久。

1950年，蘇聯把溥儀等皇室成員遣返中國。中國當局將潤麒和溥儀送往遼寧省 撫順戰犯管理所。

1957年，潤麒被釋放，比末代皇帝早兩年重獲自由。45歲的潤麒在北京與 妻子和三名子女一家團聚。並於首都從事多種勞動之作。 1966年，文化大革命開始，因皇室出身而被打上「反革命」標籤，也被下放到 北京偏遠西郊的門頭溝接受勞改。由於當地缺乏醫療設施，潤麒開始運用他在 日本學到的針灸和艾灸知識為村民治病。

有關潤麒的行醫經歷，一位記者寫道：「其時潤麒被派照料一頭牛，而農民 看到他與牛交談以後，其醫術隨之傳頌千里。因為那頭牛後來像狗一樣 服從他，遵循其命令。」 3

1978年，文革結束後，六十六歲的潤麒得以入中國社會科學院法學研究所 工作，後被選為全國政協委員，並且獲頒「傑出社會貢獻獎」。

1987年，導演貝納度．貝托魯奇（Bernardo Bertolucci）聘請潤麒為他擔任 奧斯卡獲獎電影《末代皇帝》（The Last Emperor）的顧問。1994年退休後， 潤麒以82歲高齡在家中開設「郭氏中醫診所」，懸壺濟世。 2007年6月6日，潤麒於北京逝世，享年95歲。

[1] 'Gobulo Runqi: Wanrong doesn't allow me' [郭布羅·潤麒：婉容不許我..] 20 January 2005, Beijing Morning News, http://news.sina.com.cn/o/2005-01-20/00384886383s.shtml, accessed 6 April 2023.

[2] MacLeod, Lijia, 'Life After the Last Emperor,' South China Morning Post, 7 March 1988, accessed 30 March 2023 at https://web.archive.org/web/20110927064301/http://www.lijiazhang.com/downloads/files/ life_after_the_las t_emperor.pdf.

[3] MacLeod, Lijia, 'Life After the Last Emperor,' South China Morning Post, 7 March 1988.

Aisin-Gioro

Yuyan

愛新覺羅 〮 毓嵒

Yuyan, formally known as Aisin-Gioro Yuyan was born in the Prince Dun Mansion in Beijing on 17 May 1918. He was a prince of the Manchu Aisin-Gioro imperial clan. Yuyan was the second son of Prince Pucheng and Ching Kuei, a lady of the Fuca clan. He was also a distant cousin of Aisin-Gioro Puyi , the last emperor of the Qing dynasty.

Yuyan was close to Puyi, who called him Xiaoruizi (Little Rui). Because Yuyan studied in the palace of Manchukuo when he was young, he received a formal education. Under the guidance of famous teachers, Yuyan studied the styles of illustrious past calligraphers, as well as that of Emperor Qianlong.

In 1936 Puyi summoned Yuyan to the puppet state of Manchukuo, where Yuyan was trained to manage state affairs. Seven years later, Yuyan married Ma Jinglan, a lady of Manchu descent with whom he had two sons, Hengzhen and Hengkai.

In 1945 Japan surrendered unconditionally, which led to the collapse of the puppet state of Manchukuo. The Soviet Army captured Puyi, Yuyan, and several other relatives as they were trying to flee to Japan. From 1945 to 1950, the royal prisoners of war were detained in a camp in Khabarovsk. Yuyan continued to care for Puyi, comforting him during their imprisonment in a foreign land. Puyi rewarded Yuyan’s loyalty by appointing him his heir when they were in Khabarovsk. However, in his autobiography, Puyi wrote only that he considered selecting Yuyan as his heir. This became the subject of British journalist Tony Scotland’s book The Empty Throne: The Quest for an Imperial Heir in the People’s Republic of China (1993).

In 1950 the Soviet authorities repatriated Puyi and his family to China. Like the former emperor, Yuyan was held at the Fushun War Criminals Detention Centre till 1957. Upon his release, Yuyan worked first as a Chinese teacher, and later at a haberdashery factory. In 1966 during the Cultural Revolution, because of Yuyan’s imperial status, he was sent to be re-educated through hard labour in Shanxi, China. In 1979 Yuyan was released and returned to Beijing, where he became a road sweeper.

In 1980, the Ministry of the People’s Republic of China appointed Yuyan as a state consultant on the restoration project of the Prince Gong Mansion in Beijing. Later, he successively served as director of the following organizations: the Chinese Calligraphers and Painters Association, the Oriental Painting and Calligraphy Research Association, and the Changbai Painting and Calligraphy Research Association. In 1993, Yuyan published a book detailing Puyi’s appointment of him as heir when they were prisoners in the Soviet Union - 末代皇帝立嗣紀實

宣統皇帝有否龍種傳世 (“A

Documentary of the last Emperor of the Qing Dynasty – Does Emperor Xuantong Emperor has a heir”).

History remembers Yuyan as a talented calligrapher and poet, as well as an eyewitness to a bygone era of Chinese history. He died 18 January 1999 in Beijing.

愛新覺羅．毓喦，在1918年5月17日出生於北京敦王府，是為滿族愛新覺羅宗族 的皇子。他是親王溥偁與名門望族富察．敬貴的次子，也是末代皇帝愛新覺羅． 溥儀的堂侄。

溥儀與毓喦關係密切，對之故有小瑞子的暱稱。毓喦幼時在滿洲國宮中念書， 受過正規教育。在名師指導下，他研習歷代名家和乾隆皇帝的書法風格。後

1936年，溥儀選中毓喦成為滿洲國帝宮內廷學員，並在宮中訓練他管理國事。 七年後，毓喦與滿族女子馬靜蘭成婚，育有兩子，分別名為恒鎮和恒鎧。 1945年，日軍無條件投降，滿洲國亦正式滅亡，而蘇聯軍隊隨即俘虜試圖逃往 日本的溥儀、毓喦和其他皇室成員，並在1945至1950 年間將他們囚禁於伯力 一個戰俘營。在這段異鄉囚禁時期，毓喦繼續追隨溥儀，安撫皇帝。當二人在 伯力時，為了報答毓嵒的忠心效力，溥儀將毓嵒為立為嗣子。然而，溥儀在自傳 中提到，他僅考慮過選擇毓嵒作為繼承人，並無正式立儲。這也成為了英國記 者東尼．蘇格蘭（Tony Scotland）1993年著作《空置的龍椅：探尋中華人民共和 國的皇位繼承人》（The Empty Throne: The Quest for an Imperial Heir in the People’s Republic of China）的主題。

1950年，蘇聯當局將溥儀及其他皇親國戚遣返中國。與前任君主一樣，毓嵒 被關押在撫順戰犯管理所至1957年。獲釋後，毓嵒先後靠教漢文及賣雜貨 維生。1966年文化大革命期間，毓嵒因皇室背景而遭受牽連，被發配到中國山 西勞改。1979年，他重回北京，從事街道清潔。 1980年，中華人民共和國文化部任命毓嵒為北京恭王府修復工程的國家顧問。 其後，他陸續擔任中國書畫家聯誼會、東方書畫研究會、長白書畫研究會 的理事。1993年，毓嵒出版了一本名為《末代皇帝立嗣紀實：宣統皇帝有否龍種 傳世》的著作，記載了溥儀於蘇聯在囚期間冊立他為皇太子的詳情。 毓喦以才華橫溢的書法家和詩人的身分名留青史，同時見證了中國的悠久 歷史。他在1999年1月18日於北京逝世。

Biographies 簡介

Li GuoXiong

李國雄

Li Guoxiong was born on 22nd Mary 1912 to a poor family that made clay toys in Baochao Hutong, Beijing. In the summer of 1924, at the age of 12, Li was selected as a trainee classical instrument musician in the Forbidden City. But in effect, Li became Puyi’s exclusive attendant and performed the duties of a eunuch without being a eunuch. For 33 tumultuous years of upheaval, flights to safety, and imprisonment, Li stayed by Puyi’s side. Da Li or Big Li was Puyi’s affectionate nickname for his devoted servant, who is mentioned repeatedly in Puyi’s autobiography, From Emperor to Citizen. As Puyi’s confidant, Li witnessed and overheard many historical facts, including details of crucial moments in modern Chinese history. These events included the fall of the Qing Dynasty, the establishment of the Republic of China, and the Japanese occupation of China, which led to the founding of the puppet realm of Manchukuo.

On 5 November 1924, Feng Yuxiang of the China National Party expelled Puyi from the Forbidden City. Big Li followed Puyi to his father Prince Chun’s mansion and then to the Japanese embassy in Dongjiaomin Lane. On 23rd February, 1925, Li travelled with Puyi to Zhangyuan in the Japanese Concession in Tianjin, and then on to Jingyuan. Li accompanied Puyi to northeastern China in November 1931, and subsequently witnessed the Japanese government’s declaration of Puyi as the Emperor Kangde. While living in the Manchukuo Palace, Li served as captain of the army guards and the guards of honour as well as Puyi’s photographer.

With the unconditional surrender of Japan in August 1945, Manchukuo collapsed. Puyi fled in panic and took Big Li as his only attendant with him to Tonghua Dalizi. Together with Puyi and his family members, Li was captured by the Soviet Red Army at Shenyang Airport. They spent five years at detention camps in Chita and Khabarovsk in the Russian Far East. Li later recounted Puyi’s anguish due to his fear of dying if he was sent back to China. He also witnessed the letters Puyi sent begging General Secretary Josef Stalin to let him stay in the Soviet Union.

In August 1950, the Soviet Union extradited Puyi, his relatives, and Li back to China. The re-education of Puyi took place at the Fushun War Criminals Management Centre with Li still at his side. Li was acquitted and released in 1957, two years before Puyi. Back in Beijing, Li lived a quiet life in an old courtyard house in Kuzi Hutong, Xicheng.

As the person who lived the longest around Puyi, Li Guoxiong’s insight into imperial life is unique. He remained Puyi’s local servant and experienced first-hand the ups and downs of the thrice enthroned and deposed emperor. Despite the numerous adversities that he faced, Li remained steadfast and resolute in his dedication to Puyi for three decades, offering a stable and reliable presence during some of the most challenging moments of their lives together. Li Guoxiong died in Beijing during the 1990s.

1912年5月22日，李國雄出生於北京寶鈔胡同一個製作泥玩具的貧苦家庭。 1924年夏，12周歲的李國雄，以進宮廷樂隊學習樂器的名義被溥儀選為隨待： 成為一名不離溥儀左右，專門伺候他的不是太監的太監。從此貼身跟隨溥儀33 年。溥儀在《我的前半生》一書中屢次提到的大李就是他。 作為溥儀的親信李國雄耳聞目睹了許多史實，涉及中國近現代史某些重要的 歷史事件的細節。

1924年11月5日，溥儀被馮玉祥逐出紫禁城，他跟隨溥儀來到了醇親王府，後又 到北京的日本公使館。1925年二月23日，跟隨溥儀到天津日租界的張園，其後 到靜園。1931年11月隨同溥儀來到了東北。經歷了溥儀就任偽滿執政，即位為 康德皇帝，訪日，巡幸各地等傀儡戲表演的場面。出任了偽滿宮中的護軍隊長， 儀仗隊隊長以及溥儀的攝影師。

1945年8月，日本投降，偽滿垮台，溥儀倉惶出逃之際，作為唯一的隨侍被溥儀 選中一起出逃到通化大栗子溝。在瀋陽機場隨同溥儀被蘇聯紅軍俘獲。在蘇聯 的赤塔，伯力度過了五年的囚禁生活。見證了溥儀為保活命，多次上書斯大林請 求留在蘇聯的情況。

1950年8月，李國雄和溥儀等一起被引渡回國，在撫順戰犯管理所接受改造 1957年被免於起訴無罪釋放。回到北京一直住在西城庫資胡同的一個老式四 合院內。

李國雄作為生活在溥儀身邊最長的人從溥儀的忠實僕人到赤塔，伯力的難友， 撫順戰犯管理所同案犯，再到60年代以老朋友身份與溥儀在北京重逢。他從得 天獨厚的特殊角度看清了溥儀這位歷史人物波瀾起伏的一生。1990年代，於 北京逝世，。

Wang Wenfeng

王文鋒

Born in 1957, Wang Wenfeng graduated from the Department of History at Jilin University in 1982. In August of the same year, he began his career at the Palace Museum of the Manchurian Regime and has since been highly regarded for his prolific research on Puyi and Manchukuo history. He was a researcher at the Museum. In 2005, Wang founded the Puyi Research Society where he served as Secretary General and Chief of Staff. He has convened nine International Academic Conferences on Puyi Studies and is the Executive Editor of the quarterly journal Puyi Studies which has published 45 issues to date.

Wang has devoted himself to the study of Puyi's life and the associated histories. He sees Puyi's biography as a unique example across ancient and modern times in both Chinese and Western cultures. He has published a series of books on Puyi such as Puyi in Tianjin, Puyi in the Soviet Union, Puyi in Fushun and Puyi in Changchun. His publication The Last Emperor Puyi and National Treasures won the Top Ten Best Non-Fiction Books of 2015 in China.

Wang was hired to restore the site of the Palace Museum of the Manchurian Regime and interview members of the Aisin-Gioro family and related historical witnesses. He interviewed Pujie, Runqi, Puyi's second, third, fourth and fifth younger sisters, his nephews including Yuyan, Yuzhan and Yutang, his personal attendant Li Guoxiong, as well as his wives Li Yuqin and Li Shuxian, who were both alive at that time. Through the interviews, Wang learned about innumerable anecdotes in the palace, grasped the personal experiences of people who had witnessed the events, and collected genuine, detailed and reliable first-hand information as a significant foundation for the study of Puyi.

In November 1982, Wang interviewed Li Guoxiong, personal servant of Puyi for 33 years, and subsequently conducted over 20 interviews. Wang was the first person to interview Li and considered the oral history of Puyi's long-trusted individual as a great benefit to the study of the last emperor and related events.

In the autumn of 1986, renowned director Bertolucci and his crew filmed The Last Emperor at the Palace Museum of the Manchurian Regime. The cast included John Lone as Puyi and Joan Chen as Wan Rong. They borrowed a group of artefacts from the Museum, such as a white bearskin rug used by Puyi and the Japanese screen behind Puyi's throne. Wang, the manager of the Museum’s heritage information department at that time, was responsible for liaising with the crew, participating in the filming process to monitor the condition of the artefacts, and answering all sorts of questions.

王文鋒生於1957年，1982年畢業於吉林大學歷史系，同年8月起供職於偽滿 皇宮博物院，現為院內研究員，長期研究溥儀及偽滿宮廷史，成果顯著。2005年 成立「溥儀研究會」，出任秘書長兼辦公室主任，召開過九屆「溥儀研究國際學術 討論會」，同時兼任《溥儀研究》季刊執行主編，至今出版了45期。

王文鋒致力研究溥儀生平及相關歷史，視溥儀事跡為古今中外絕無僅有的 特例。他曾出版過《溥儀在天津》、《溥儀在蘇聯》、《溥儀在撫順》，《溥儀在長春》等 一系列溥儀研究叢書。其著作《末代皇帝溥儀與國寶》榮獲2015年中國非 小說類十大好書。

偽滿皇宮博物院聘請王文鋒參與修復皇宮舊址及採訪愛新覺羅家族成員與相關 歷史見證者。王文鋒多次採訪溥傑、潤麒、溥儀二妹、三妹、四妹、五妹，侄子毓嵒、 毓嶦、毓嵣、親信隨侍李國雄，以及當時在世的兩位妻子李玉琴和李淑賢等等。 王文鋒通過採訪，得知宮中奇聞軼事，掌握各人耳聞目睹的親身經歷，搜集真實、 詳細、可靠的第一手資料，作為研究溥儀的重要依據。

1982年11月，王文鋒訪問服務溥儀33年的貼身隨侍李國雄，其後進行逾20次 訪談。王文鋒為首位採訪李國雄的人士，認為溥儀親信的口述歷史對研究溥儀及 相關事件有莫大助益。

1986年秋季，意大利導演貝托魯奇帶同攝製隊到偽滿皇宮拍攝《末代皇帝》。 隨行演員包括飾演溥儀的尊龍及飾演婉容的陳沖。劇組人員向偽滿皇宮博物院 借用了一批文物，包括溥儀御用白熊皮地毯、溥儀寶座後的神鳥屏風。王文鋒時 任文物資料部主任，負責與劇組接洽，參與整個拍攝過程以確保文物不受損害， 同時解答劇組的各種問題。

Biographies 簡介

Russell Working 羅素·華京 Nonna Working 羅娜·華京

Russell Working is a freelance writer and former staff reporter for the Chicago Tribune and other newspapers. He has filed stories from throughout the United States, the Caribbean, the former Soviet Union, Asia, the Middle East, and aboard the USS Theodore Roosevelt.

Russell spent six years freelancing from Russia and Cyprus. His fiction and nonfiction have appeared in The New York Times, the Los Angeles Times, the South China Morning Post, The Japan Times, The Jerusalem Post, Kyoto Journal, BusinessWeek, Rubezh, Zoetrope: All-Story, Crazyhorse, The Atlantic, Columbia Journalism Review, and scores of other publications worldwide.

Russell is the author of two collections of short stories. Resurrectionists won the Iowa Short Fiction Award, while The Irish Martyr garnered the University of Notre Dame’s Sullivan Award. He has twice won the Hackney Award for the Novel, for The Red Corner and The Elephant Box. His short story ‘The Day Job’ won Crab Orchard Review’s short story prize, and he has captured multiple prizes, including two first places, in Narrative magazine story contests. His memoir piece, ‘Us,’ was cited as one of the year’s best in the 2014 Best American Essays. His short story ‘The Irish Martyr’ won a Pushcart Prize.

Russell’s work has been praised in Publishers Weekly and The New York Times Book Review. His fiction residencies include Yaddo, Art Omi, and Passa Porta’s Villa Hellebosch in Vollezele, Belgium. He holds an MFA in creative writing from Vermont College of Fine Arts.

He and his wife, Nonna, live in suburban Chicago. They have two sons, a U.S. Navy lieutenant commander and a freshman at Purdue University in Indiana.

Nonna Working is an Institutional Review Board coordinator for the Office for the Protection of Research Subjects at the University of Illinois at Chicago. She formerly worked as a Russian-American freelance reporter, writing for The Wall Street Journal, Russia Business Review, the South China Morning Post, The Japan Times, Echo Planety, Argumenty i Fakty, and other media.

She also has been an interpreter and stringer for the BBC, The New York Times and the Chicago Tribune. She cowrote and produced a video segment for the popular TV program Morskaya in Vladivostok, Russia.

In pursuit of stories, Nonna travelled throughout the Russian Far East and in China, South Korea, Japan, Turkey and Mongolia. She has written about illegal gun factories in Philippines, a wounded Chechen in Jordan, and Russian draft dodgers in Cyprus.

She lives in Oak Park, Illinois, with her husband, writer Russell Working. She is an award-winning Toastmaster and is fascinated by Chicago’s literary heritage.

羅素．華京（Russell

Working）為獨立撰稿人，曾在《芝加哥論壇報》等報章 任職記者，足跡遍佈美國各地、加勒比地區、前蘇聯、亞洲、中東，以至羅斯 福號航空母艦，曾旅居俄羅斯及塞浦路斯六年。其小說與非小說類文學作品 曾載於《紐約時報》、《洛杉磯時報》、《南華早報》、《日本時報》、《耶路撒冷郵 報》、《京都日報》、《商業週刊》、俄羅斯《Rubezh》生活週刊、美國《Zoetrope: All-Story》文學雜誌、美國《Crazyhorse》文學雜誌、《大西洋》雜誌、《哥倫比亞 新聞評論》，以及寰球衆多媒體刊物。羅素著作等身，獲獎無數，曾以短篇 小說集《復活者》（The Irish Martyr）榮獲愛荷華短篇小說大獎；短篇小說集 《愛爾蘭殉道者》（Resurrectionists）榮獲印地安納聖母大學蘇利文獎 （Sullivan Award）；小說《紅色角落》（The Red Corner）及《大象盒子》 （The Elephant Box）兩度成說美國克尼文學獎（Hackney Literary Award） 小說類得主；短篇小說《日間工作》（The Day Job）獲美國《蟹果園評論》 （Crab Orchard Review）短篇小說獎；兩度奪得美國《敘事》（Narrative） 文學雜誌小說比賽冠軍；回憶錄《我們》（Us）被《美國最佳散文年刊》 （Best American Essays）列為2014年年度佳作；短篇小說《愛爾蘭殉道者》 榮獲美國文壇崇高美譽手推車獎（Pushcart Prize)。

羅素作品先後被《出版者週刊》及《紐約時報書評》表揚。他曾是多個文學節 的駐場藝術家，包括紐約薩拉托加泉Yaddo藝術村、紐約根特市Art Omi 藝術村、比利時Passa Porta國際文學節駐哈爾馬登市Vollezele鎮 Hellebosch莊園藝術村。羅素持有佛蒙特藝術學院創意寫作碩士學位。

羅素與妻子羅娜定居芝加哥市郊，育有兩兒，現分別為美國海軍少校， 以及印第安納州普渡大學新生。

羅娜．華京（Nonna Working）為伊利諾大學芝加哥分校研究受試者保護 中心的審查委員會統籌。她曾是俄裔美籍自由身記者，為《華爾街日報》、 《俄羅斯商業評論》、《南華早報》、《日本時報》、俄羅斯《Echo Planety》、 俄羅斯《論據與事實》等媒體撰稿。

她曾為英國廣播公司、《紐約時報》和《芝加哥論壇報》擔任翻譯和記者。 她為海參崴流行電視節目《Morskaya》撰寫及製作錄像作品。

羅娜曾走訪俄羅斯遠東、中國、韓國、日本、土耳其及蒙古，涉獵題材廣汎， 曾撰寫菲律賓非法製槍工場、受傷的車臣人在約旦的遭遇，以及塞浦路斯的 俄羅斯逃兵等專題故事。

羅娜與作家丈夫羅素．華京（Russell Working）定居伊利諾州橡樹園。

她是一位得獎演講家，喜歡研究芝加哥文學。

Acknowledgements 鳴謝

Phillips in Association with Bacs & Russo would like to thank all the individuals we have had the opportunity to work with on this amazing project of Puyi, the Imperial Patek Philippe: The consignor of the watch who entrusted us with the auction and the research of the watch and the artefacts, without whom none of this amazing adventure would have taken place.

Russell and Nonna Working whose article in South China Morning Post in 2001 formed the foundation of our research and whose editorial help and keen insights were beyond invaluable.

Wang Wenfeng to whom Phillips is immensely grateful for his unparalleled scholarship on Puyi and his unfailing support to reach into his archives for ever more information and photos.

Jilleen Nadolny from ArtDiscovery whose scientific examinations allowed us to confirm the authenticity of the artefacts. ArtDiscovery also appointed Nixi Cura to conduct a stylistic study of the various styles of calligraphy in order to identify the different ‘hands’ of the watercolour paintings and the writing.

Miao Cai Xia whose unwavering support and scholarship in this project which includes in-depth research, working with Mr. Wang Wenfeng and editing our Chinese texts amongst many other tasks that necessitated her command of Chinese.

Having a pile of articles and turning them into a research book and an auction catalogue is as hard as it sounds. The experience is both internally challenging and exhilarating. A special thank you to Gertrude Wong who is the brain behind the design of the catalogue which she created in record time, and to Pansy Ku and Tadzio Nuno for their initial research which jumpstarted this project. Complete thanks to the support of Thomas Perazzi, Aurel Bacs, Livia Russo, and to Myriam Christinaz, Martin Wilson, Nick Wilson for their good advice and problem-solving skills.

Jess Hoffmann and his remarkable photographic skills which embellish all his subject matters with vividness and luminosity.

Everyone on the catalogue production team at CA Design.

富藝斯及Bacs & Russo仝人衷心感謝實現《御藏百達翡麗》項目的所有單位， 能與各方合作實屬榮幸之至：承蒙腕錶現藏家的信任，委託本行拍賣和考證 藏錶及手工藝品。缺乏賣方的信賴，本次龐大項目難以成事。

感謝Russell及Nonna Working伉儷：載於2001年《南華早報》的報導由 Working伉儷撰寫，為本次研究奠定基礎。兩位的編輯能力和獨到見解尤其 寶貴。

感謝王文峰：王先生對溥儀的研究仔細深入，無人能及；有賴他的不懈努力， 砥志研思，富藝斯得以獲取更多相關信息和照片。

感謝ArtDiscovery的Jilleen Nadolny：她的科學考證使得我們能夠確認手工 藝品的真確性。

感謝ArtDiscovery的Nixi Cura：她對各種書法風格進行文體研究，使得我們 能夠確認水彩畫和書法出自不同手筆。

感謝苗彩霞：她在這個項目中予以堅定支持，提供豐富學術知識，包括進行深 入研究、與王先生共事、編輯我們的中文文案等，在不少工作上盡展其精通華 語的才能。

從眾多文獻中東拼西湊成一本研究刊物暨拍賣圖錄絕非易事，如此體驗既充 滿挑戰，又令人振奮。特別感謝黃穎蘅：她是圖錄設計的幕後主腦，並於短時 間內完成這項艱鉅任務。此外，十分感謝Pansy Ku和Tadzio Nuno的初步研 究，致使本次項目迅速啟動。同時，非常感謝彭博時（Thomas Perazzi）、Aurel Bacs和Livia Russo 的鼎力支持，以及Myriam Christinaz、Martin Wilson和 Nick Wilson提供的珍貴建議，以及解決問題的超卓技巧。

感謝Jess Hoffmann：他的非凡攝影技巧令到所有被攝對象活靈活現，栩栩 如生。

感謝CA Design 圖錄製作團隊全體人員。

Hong Kong Guide for Prospective Buyers: Watches

Buying at Auction

The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you.

Conditions of Sale

The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices immediately following this Guide for Prospective Buyers.

Buyer’s Premium

Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 27% of the hammer price up to and including HK$7,500,000, 21% of the portion of the hammer price above HK$7,500,000 up to and including HK$50,000,000 and 14.5% of the portion of the hammer price above HK$50,000,000.

The purchase price payable for any lot is the sum of the hammer price plus the buyer’s premium plus and applicable tax and charges.

1 Prior to Auction Catalogue Subscriptions

If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +852 2318 2000, +41 22 317 8181, +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in US Dollars and Euros

Although the sale is conducted in Hong Kong dollars, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

Catalogue Entries

Phillips may print in the catalogue entry the history of ownership of the property, as well as the exhibition history and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots

Our catalogues include references to condition only in the descriptions of multiple works (e.g. prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property. While condition reports are prepared honestly and carefully, our staff are not professional restorers. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Moreover, condition reports are not exhaustive and may not specify all mechanical replacements or imperfections to the movement, case, dial, pendulum, separate bases(s) or dome. The absence of a condition report or the absence of a reference to damage in the catalogue does not imply that the lot is in good condition, working order or free from restoration or repair.

Pre-Auction Viewing

Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Deposit and other conditions to bidding

As a condition of allowing you to bid on a lot, including lots designated with the symbol * (“Premium Lots”), Phillips may require you to provide security for the bid in the form of (i) a financial deposit of an amount which Phillips will determine in its sole and absolute discretion; and/or (ii)such financial references, guarantees and/or other security as Phillips may require in its sole discretion.

To bid on Premium Lots, you will be required to complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Premium Lot will be offered for sale. Upon your completion and satisfaction of Phillips’ Premium Lot pre-registration procedure, we will issue you with a numbered Premium Lot paddle for identification purposes. The auctioneer will only accept bids on Premium Lots made with the Premium Lot paddle.

Payment of deposits may be made by wire transfer or credit card acceptable to Phillips for the prospective purchase. If you are not the successful bidder on any Lots and do not owe Phillips or any of our affiliated companies any debt, the deposit will be refunded to you by wire transfer (in the same currency in which you paid the deposit) or credit card refund, as the case may be, the refund will be processed within seven days after the date of the auction.

Symbol Key

The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

Lots designated with the symbol O are the subject of a minimum price guarantee.

In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party.

♦ Third Party Guarantee

Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of

that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. If there are competing bidders third party guarantors may also bid above any written bid.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated.

Disclosure of financial interest by third parties

Phillips requires third party guarantors to disclose their financial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confirm whether or not they have a financial interest in the lot.

Δ Property in which Phillips has an Ownership Interest

Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

• No Reserve

Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Ж Property subject to US Import Tariffs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

∑ Endangered Species

Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

* Premium Lots Lots with the symbol [*] are Premium Lots. To bid on Premium Lots prospective buyers must complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Lot is offered. Premium Lot paddles will be issued to bidders who complete and satisfy the Premium Lot pre-registration procedure. The Auctioneer will only accept bids from Premium Lot paddles in respect of Premium Lots. Please contact the department organizing the auction for details.

▼ Restricted Importation

Lots with this symbol may be subject to importation restriction in the US. Please refer to the Important Notices which appear in this catalogue immediately following this Guide for Prospective Buyers.

2 Bidding in the Sale

Bidding at Auction

Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference.

By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time.

Bidding in Person

To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone

If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least HK$8,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium, which we can execute on your behalf in the event we are unable to reach you by telephone. To arrange a telephone bid please contact the Hong Kong bids department at +852 2318 2029.

Online Bidding

If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com.The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe Flash Player. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

Absentee Bids

If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding

Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments

Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the Auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

HK$1,000 to HK$2,000 by HK$100s

HK$2,000 to HK$3,000 by HK$200s

HK$3,000 to HK$5,000 by HK$200, 500, 800 (i.e., HK$4,200, HK$4,500, HK$4,800)

HK$5,000 to HK$10,000 by HK$500s

HK$10,000 to HK$20,000 by HK$1,000s

HK$20,000 to HK$30,000 by HK$2,000s

HK$30,000 to HK$50,000 by HK$2,000, HK$5,000, HK$8,000

HK$50,000 to HK$100,000 by HK$5,000s

HK$100,000 to HK$200,000 by HK$10,000s

HK$200,000 to HK$300,000 by HK$20,000s

HK$300,000 to HK$500,000 by HK$20,000, 50,000, 80,000 (i.e., HK$320,000, HK$350,000, HK$380,000)

HK$500,000 to HK$1,000,000 by HK$50,000s

Above HK$1,000,000 at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 The Auction

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. By registering for the Auction, bidders accept the Conditions of Sale and Authorship Warranty. They may be amended by saleroom addendum or Auctioneer’s announcement.

Interested Parties Announcement

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 After the Auction Payment

Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in Hong Kong dollars by wire transfer, as noted in Paragraph 6 of the Conditions of Sale. Cash and cheques are not accepted.

Credit Cards

As a courtesy to clients who have bid or bought in Phillips auctions previously, Phillips will accept American Express, Visa, MasterCard, and China Union Pay to pay for invoices of HK$800,000 or less per auction.

Collection

It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. After the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.

Loss or Damage

Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping

As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licences

Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from Hong Kong or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Buyers should note that the export of items offered for sale in the Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time.

Endangered Species

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country

within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Privacy

Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@ phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications.

Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.

Important Notices

Condition

Phillips makes no representation or warranty that any watch or clock is in working order, and no catalogue description of any lot should be construed as so stating. Prospective buyers are advised to have watches and clocks checked by a competent watchmaker or watch or clock restorer before use. As a service to prospective buyers, we may provide a description of the condition of watches and clocks in the catalogue entry, including references to defects and repairs, and furnish a condition report, but such information is not necessarily complete and may not specify all mechanical replacements, restorations or defects. Please note that Phillips does not guarantee the authenticity of any individual components parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since prior repairs and restoration work may have resulted in the replacement of original parts. Nor does Phillips warrant that watches in water-resistant cases are currently water-resistant. Prospective buyers should inspect all watches and clocks prior to the auction to evaluate the condition of property offered for sale.

Exportation

of Watch Bands Incorporating Material from Endangered Species

Some of the watches offered for sale in the catalogue may have bands made of endangered or protected animal materials, such as alligator or crocodile, and may not lawfully be exported from the auction site without a CITES export permit. As explained in Paragraph 1 & 4 of the Guide for Prospective Buyers, these lots are marked with Σ in the catalogue. Accordingly, for purchased watches that are to be shipped out of the sale site for delivery, Phillips may need to remove and retain the band before shipping the watch and buckle.

Importation of Watches Into the United States

Prospective buyers should be aware that the importation of luxury watches into the United States may be restricted. These watches may not be shipped into the US and may only be imported personally. US customs regulations may limit the importation of luxury watches to one per buyer. Lots marked with ▼ are subject to these restrictions. A purchaser’s inability to import a luxury watch into the United States or Phillips’s failure to mark a lot with ▼ shall not constitute grounds for non- payment or cancellation of the sale.

Authenticity Certificates

Certain manufacturers do not issue certificates of authenticity, and Phillips has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except when specifically noted in the catalogue. Unless Phillips is satisfied that we should cancel the sale in accordance with the Authorship Warranty provided in the Conditions of Sale, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.

Premium Lots

To bid on Premium Lots marked in the catalogue with the symbol *, prospective buyers must complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Lot is offered for sale.

Premium Lot paddles will be issued to bidders who complete and satisfy the Premium Lot pre-registration procedure. The Auctioneer will only accept bids from Premium Lot paddles in respect of Premium Lots. For details, please contact the department organising the auction or the Client Services Department at +852 2318 2000.

Hong Kong Conditions of Sale: Watches

The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips Fine Watches Limited registered in Hong Kong under number 2131858 (“Phillips”) and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices immediately following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding.

1 Introduction

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and Important Notices and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the presale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction

(a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least HK$8,000. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding

platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers.

(e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges.

(f) By registering and participating in the auction, whether in person, by absentee bid, on the telephone or online, bidders represent, warrant and confirm that (i) unless otherwise expressly agreed in writing with Phillips prior to the auction, they are bidding on their own behalf and not on behalf of anyone else (ii) they will be paying the purchase price from their own funds (iii) that their participation in the auction and payment of the purchase price is lawful and shall not breach any applicable sanctions laws, and (iv) any bids placed by them , or on their behalf, are not the product of any collusive or other anti-competitive agreement and are not otherwise in breach of any applicable law, Government sanctions and other regulatory measures in force from time to time.

(g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

(h) * Premium Lots Lots with the symbol [*] are Premium Lots. To bid on Premium Lots prospective buyers must complete and satisfy Phillips’ Premium Lot pre-registration procedure no later than 24 hours before the start of the auction session in which the Lot is offered. Premium Lot paddles will be issued to bidders who complete and satisfy the Premium Lot pre-registration procedure. The Auctioneer will only accept bids from Premium Lot paddles in respect of Premium Lots. Please contact the department organizing the auction for further details.

(i) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction

(a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot.

(c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

(d) The sale will be conducted in Hong Kong dollars and payment is due in Hong Kong dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’.

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the ‘Purchase Price’). The buyer’s premium is 27% of the hammer price up to and including HK$7,500,000, 21% of the portion of the hammer price above HK$7,500,000 up to and including HK$50,000,000 and 14.5% of the portion of the hammer price above HK$50,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction.

(b) Payments must be made by the invoiced party in Hong Kong dollars. Please reference the relevant invoice number. Payment is due immediately following the auction regardless of any intention to obtain any export or import license or other permit for such Lot. Interest will be charged on late payment at the rate of 12% per annum.

(c) If you are a new client bidding online in our Auction for the first time, as a security measure you will be required to pay for your lots by wire transfer only. This is our standard policy for all new online buyers.

As a courtesy to clients who have bid or bought in our sales previously, Phillips will accept American Express, Visa, MasterCard and China Union Pay to pay for invoices of HK$800,000 or less per auction.

(d) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 Collection of Property

(a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including providing information and documentation we require to satisfy our customer due diligence and verification checks for Know Your Customer compliance purposes and completing any anti- money laundering, anti-terrorism financing and sanctions checks. As soon as a buyer has satisfied all of the above conditions, he or she should contact us at +852 2318 2000 to arrange for collection of purchased property.

(b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, all lots will be stored externally, please call our shipping department on +852 2318 2000 prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Property will be collected by the buyer at the point it is released in the sale location by Phillips to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination.

(d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of HK$80 per day for each uncollected lot. We will not release purchased lots to the buyer until all such charges have been paid in full.

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate.

(b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips

Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s

representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 14 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import And Endangered Species Licences and Permits

Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from Hong Kong or to import it into another country.

Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarise themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis of continent of origin and confirmation the object is more than 100 years old.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the item qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

Export, Import, Sales and/or Use Taxes

Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States.

Export and Import Bans and Restrictions

Buyers should note that the export of items offered for sale in this Auction to certain countries (including Russia and Belarus) may be prohibited pursuant to Government sanctions and other regulatory measures in force from time to time. Please contact the department organising the auction for further details.

12 US shipments and imports

Customs Tariffs

Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany.

Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking.

US Sales and/or Use Taxes

Buyers requesting shipment to the United States of America of lots bought in the Auction are responsible for paying all and any applicable Sales and/or Use Taxes which may be due.

13 Personal Data

(a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com.

(b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

(c) Phillips premises and sale and exhibition venues may be subject to CCTV video surveillance and recording and your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded. Where we record such information we will process it in accordance with our Privacy Policy.

14 Limitation of Liability

(a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law.

(d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

16 General

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips.

(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives.

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(e) If there is any inconsistency or conflict between the English text of the Conditions of Sale, Guide for Prospective Buyers and/or Important Notices and their Chinese translations, the English text will prevail.

17 Law and Jurisdiction

(a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with Hong Kong law.

(b) For the benefit of Phillips, all bidders and sellers agree that the courts of Hong Kong are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the courts of Hong Kong.

(c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by Hong Kong law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Authorship Warranty

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below and the Important Notices set out in this catalogue immediately following the Guide for Prospective Buyers.

(a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry.

(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the salesroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above.

(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

Please return this form by email to bidshongkong@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

Please select the type of bid you wish to make with this form (please select one):

14/F, St. George’s Building

2 Ice House Street, Central, Hong Kong phillips.com +852 2318 2000 bidshongkong@phillips.com

• PRIVATE PURCHASES Proof of identity in the form of governmentissued identification and recent proof of address will be required.

• COMPANY PURCHASES If you are buying under a business entity, we require a copy of government-issued identification (such as the certificate of incorporation) as well as proof of owners (including ultimate beneficial owners) and directors to verify the status of the company.

• CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Please complete the following section for telephone and absentee bids only

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 27% of the hammer price up to and including HK$7,500,000, 21% of the portion of the hammer price above HK$7,500,000 up to and including HK$50,000,000 and 14.5% of the portion of the hammer price above HK$50,000,000.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

• If we receive identical bids, the first bid received will take precedence.

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

• Please submit your bids to the Bid Department by email to bidshongkong@phillips.com or by fax at +852 2318 2010 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone, please call +852 2318 2029.

• Payment for lots can be made by credit card (up to HK$800,000 per auction) or by wire transfer.

• Lots cannot be collected until payment has cleared and all charges have been paid.

• By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com.

• Phillips’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

By submitting this form you confirm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in the catalogues and on our website.

Please tick this box to receive emails about upcoming sales, exhibitions, and special events offered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

請填妥此表格並於拍賣日前24小時電郵至bidshongkong@phillips.com。

敬請細閱表格右列須知，並選擇閣下欲以個人名義或公司名義參與是次競投。

請選擇此表格之競投方式(選一項)：

現場競投

書面競投

電話競投

請選擇閣下是次競投名義(選一項)：

以個人名義

以公司名義

於拍賣時聯絡閣下的電話號碼 (只供電話競投用)

1.

選用語言 (只適用於電話競投)

以下部份只適用於電話及書面競投

2.

香港中環雪廠街2號聖佐治大廈14樓 phillips.com +852 2318 2000 bidshongkong@phillips.com

提交此表格代表閣下確認上述登記/競投價並接受富藝斯載於圖錄及網站之業務規定。

• 以個人名義購買

請提供政府發出的身份證明文件及最近3個月的住址證明。 • 以公司名義購買 如閣下以商業實體名義購買，請提供由政府發出的公司證明文件 (如公司註冊證書)之副本及擁有人(包括最終實益擁有人)及董事的 證明文件，以核實有關公司。

• 業務規定

所有投標的處理及執行、及所有拍品的成交及購買均按照圖錄 所載之業務規定執行。請於參與競投前細閱業務規定，並細閱 第4段之內容。

• 如閣下未能出席拍賣會，本公司樂意代表閣下進行保密的書面 競投。

• 本公司會按每件拍品落槌價向成功競投者收取佣金或買家 支付之酬金。買家應支付本公司酬金，酬金費率為：拍品落槌價 首港幣7,500,000元之27%，加逾港幣7,500,000元以上至港幣 50,000,000元部份之21%；加逾港幣50,000,000元之餘款的 14.5%計算。

•「購買」或無限價競投標將不獲接納。閣下可於拍品編號之間以  「或」字作兩者(或若干)中擇一競投。

• 如欲進行書面競投，請列明每件拍品之最高限價(買家酬金不計在 內)。拍賣官將參考底價及其他競投價，盡力以最低價進行競投。 在沒有更高價的情況下，對不設底價的拍賣品所提交的不在場投 標，會以售前低估價大約50%成交，但是若該投標價低於售前 低估價的50%，則以該投標價成交。

• 投標價必須以拍賣當地的貨幣為單位，及或會被調低至最接近 拍賣官喊價遞增幅度之競投金額。

• 如本公司就同一項拍賣品收到相同競價之委託，則最先收到之 委託獲優先辦理。

• 書面及電話競投是本公司提供予準買家之免費服務，本公司將盡 合理努力代其競投。除了故意瀆職的情況外，本公司不會對因未能 執行書面或電話競投，或在當中出現之任何誤失或遺漏負任何 責任。電話競投者必須以函件或傳真儘快確認投標獲辦理。電話 競投對話過程或會被錄音。

• 請將填妥之競投表格於拍賣日前至少24小時電郵至 bidshongkong@phillips.com或傳真至 + 852 2318 2010 予 投標部。閣下將於1個工作天內以電郵方式收到確認。如欲以電話 聯絡投標部，請致電 +852 2318 2029 。

• 閣下可使用信用卡 (每場拍賣上限為港幣800,000元) 或以電匯 方式付款。

• 拍品需於本公司收到全數結清之款後方能提取。

• 在富藝斯的處所範圍、拍賣會場及展覽場地內可能進行錄像 監控。電話對話如電話競投亦有可能被錄音，本公司會根據隱私 政策處理該資料。

• 閣下簽署本競投表格，即表示閣下了解並同意本公司將依據我們 的私隱政策處理你的個人資料，包括「敏感性資料」。私隱政策 刊載於www.phillips.com，或可電郵至 dataprotection@phillips.com索取副本。

如欲訂閱富藝斯集團成員公司日後舉行的銷售、展覽及特別活動 的電郵通訊，請在方格打勾。根據刊載於本集團網站 www.phillips.com 的私隱政策，閣下可隨時更改或取消訂閱。

The Imperial Patek Philippe Sale G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road West, Kowloon, Hong Kong

香港九龍西九文化區 柯士甸道西8號 西九文化區管理局大樓G/F

Auction

23 May 2023 at 7pm (Lots 1-12)

Viewing

18-23 May 2023 10am-7pm

Sale Designation

In sending in written bids or making enquiries please refer to this sales as HK080623 or The Imperial Patek Philippe Sale

Absentee and Telephone Bids

tel +852 2318 2029

fax +852 2318 2010 bidshongkong@phillips.com

Sale Department

Head of Watches, Asia Thomas Perazzi +852 2318 2030 thomasperazzi@phillips.com

Head of Watches, Hong Kong Jill Chen +852 2318 2033 jillchen@phillips.com

Co-Head of Sale, International Specialist Zi Yong Ho +852 2318 2032 ziyongho@phillips.com

Co-Head of Sale, Specialist

Gertrude Wong +852 2318 2045 gertrudewong@phillips.com

Specialist

Shoyo Kawamura +852 2318 2035 shoyokawamura@phillips.com

Cataloguers

Jasmine Wai +852 2318 2087 jasminewai@phillips.com

Yunyi Xu +852 2318 2074 yunyixu@phillips.com

Senior Business Manager, Asia Felix Yip +852 2318 2034 felixyip@phillips.com

Senior Administrator Stanley Sit +852 2318 2018 stanleysit@phillips.com

Administrator Lydia Ip +852 2318 2015 lydiaip@phillips.com

Client Accounting

clientccountswatches@phillips.com +852 2318 2000

Client Services

14/F, St George Building

2 Ice House Street, Central, Hong Kong +852 2318 2000