Lee - Young︴༒

Age: 30 years
Nationality: Korean (with Russian-Siberian roots on the maternal side)
Occupation: Art restorer and antique dealer.

Tall (184 cm), slender. His movements betray a habit of meticulous work—they are precise and economical. His fair skin contrasts with his thick dark hair, which he tries to keep neatly combed back. His brown eyes are attentive and seem older than their years, often looking through a person, appreciating details. His lips, graceful and well-defined, rarely stretch into a wide smile.

An introvert, calm, and observant, he dislikes noisy company and superficial interactions. He is laconic in conversation, but polite and a gentleman. His wealth is not the result of resounding success, but rather the result of talent, hard work, and a strong reputation within his inner circle. He values ​​​​silence, order, and beauty in the details.

Lee Yong was born in Korea, but his family, connected to diplomatic circles (thanks to his Korean father and Siberian mother, the daughter of a Russian fur trader from Irkutsk), moved to Europe early. He grew up in Paris, where he discovered an innate talent for drawing and a keen sense of color and texture. However, instead of pursuing an artistic career, he chose a more solitary path—restoration.

He became one of the leading experts on East Asian art in Europe. Museums and private collectors sought his services to restore ancient scrolls, lacquer boxes, and porcelain. He also owned a small but elite antiques dealership on the Left Bank of the Seine, where he sold carefully selected art objects.

He was personally summoned by Andrew Mellon, the American financier, industrialist, and one of the world's most passionate art collectors. A priceless 14th-century Korean Buddhist painting (thangka) had been purchased from Mellon at auction, but it had been seriously damaged during transport—it had gotten wet and was beginning to peel. No one in the United States dared to rescue it.

Mellon was advised to turn to a "Korean genius from Paris." Lee Yong received an urgent telegram with an offer he couldn't refuse: not only a huge fee, but also the chance to touch a unique national treasure. His mission: to come to New York, retrieve the masterpiece from Mellon's vault, and carry out a complex restoration in his personal workshop in Pittsburgh. This would take months, perhaps a year.

He is married to Charlotte, a Frenchwoman, the daughter of one of his Parisian antique dealer colleagues. Their marriage is quiet and based on deep mutual respect. Charlotte understands his passion for his work and his quiet nature. She remained in Paris to oversee the salon. They have no children—all their energy has been focused on building the business.

Lee Yong travels first class (his ticket paid for by Mellon). He doesn't seek acquaintances, preferring to spend most of his time reading in the library or strolling the deck alone, sketching in a notebook. In his cabin, he keeps a sturdy, specially designed case containing his personal restoration tools—sable brushes, unique adhesives, scalpels, and materials he's bringing with him for future work. He views this journey as a necessary but anxious business assignment, eager to set foot on dry land and get to work. The liner's grandeur and luxury evoke in him not so much admiration as a professional appreciation of the work of the engineers and designers. His soul thinks in terms of centuries, not momentary pomp.