Specialist Spotlight: Annie Wu

Freeman’s: What originally attracted you to the world of Asian Art? What about this type of art appealed to you? What drew you to becoming a specialist and translating your passion into your career?  

Annie Wu:  Because of my background, Asian art, particularly East Asian art, has been a lifelong passion. While I genuinely enjoy handling all the different categories of property that come through our department, my true passion lies in Chinese monochrome porcelain from the Song to Mid-Qing dynasties, Kangxi and Yongzheng period wares, and Ming Dynasty scholars’ paintings. 

What keeps me in this field is the sheer joy of identifying pieces for our consignors. I love helping them understand the history behind their objects, sharing those stories with potential buyers, and ultimately helpingthe items find good new homes. Like my colleagues, I see myself as a custodian, and my goal is always to treat these pieces with the utmost respect and care. 

F: How did your career journey lead you to Freeman’s?  

AW:   I began my career with another regional house, where I had the immense joy of learning the foundations of this industry. It was a fantastic experience that truly solidified my determination to build a career in this field. Years ago, when I heard Freeman’s was hiring an Asian Art specialist in Chicago, I picked up the phone and introduced myself, hoping to become part of this wonderful family. That single phone call opened the door to a larger, exciting world. I was immediately embraced by the firm's culture and values, and I am still enjoying every moment of this journey. 

F: Are you personally a collector of Asian Art? What are some of your favorites that you’ve acquired? 

AW:   I am a very modest collector of Asian art reference books and scholars’ paintings. I simply enjoy being surrounded by reference materials, and they always come in handy for research. Regarding paintings, years ago, I purchased a small Chinese landscape on a silk round fan leaf. It was painted by a lesser-known Ming Dynasty scholar. Rather than buying it for the artist's name, I was drawn to the scene itself: a classic landscape featuring a river running through rocky mountains, with a scholar sitting in a simple house atop a mountain among tall trees. When I look at it, I envision myself as that scholar, embracing the quiet, Zen-like mindset of the time. 

F: Can you describe a collection that you are proud to have brought to auction? 

AW:   It is difficult to choose just one, so I will highlight a recent favorite. In September 2025, we had the privilege of handling a collection of Chinese works on paper from the estate of Xiwen (Yiling) Wang, a well-known financial figure and avid collector during the Republic Period in China. After meeting with the family, we carefully went through the entire collection, which had been brought across the Pacific in a single large cloth chest. By refining our research, we uncovered the historical importance of several pieces and were able to present the property at our fall Asian Art auction in New York, along with its complete story. We were thrilled to achieve a white-glove result, realizing a total hammer price that doubled the pre-sale estimate. 

F: Describe a typical workday for you at Freeman’s.  

AW:   A typical day for me begins with team meetings to connect with colleagues, followed by client calls to discuss their property and specific requests. After that, I dive into reviewing property, providing estimates, and conducting research. Of course, urgent matters often arise, as there is never a dull moment in our world, but managing those surprises is simply what we do best. 

Lot 36 | Qi Baishi (Chinese, 1864-1957) 齊白石（1864-1957）Estimate $25,000 - 35,000; Lot 42 | Zhang Daqian (Chinese, 1899-1983) 張大千（1899-1983）Estimate $100,000 - 150,000; Lot 163 | A Korean Bronze Figure of a Seated Tathagata Buddha, 14th Century, 十四世紀朝鮮王朝 青銅如來坐像 Estimate: $10,000 - 15,000

F: What are some market trends you’ve observed in the category? Can you tell us a bit about works or collections you’re excited to offer in this spring’s auction? 

AW:   The Asian Art market is still there and remains strong. However, it is also becoming highly selective as buyers continue to get smarter. Right now, the pieces that do well are the rare ones. The more 'fresh-to-market' a piece is, the more desirable it becomes, particularly when it is accompanied by a rock-solid history. 

Looking ahead to the Spring sale, we are offering a carefully prepared selection of fine, approachable Chinese porcelain for collectors at every level. The auction will also feature several beautiful Chinese paintings by masters Qi Baishi and Zhang Daqian. We are honored to present a few important Korean bronze Buddhist figures from the 14th to the 17th centuries, highlighting a 14th-century Tathagata Buddha exhibited at the Metropolitan Museum of Art from 2010 to 2011. Additionally, we are pleased to present a wonderful group of Chinese snuff bottles from the estate of Dr. Thomas A. Klein, M.D., which are being sold to benefitthe Department of Obstetrics and Gynecology at Thomas Jefferson University Hospital. 

F: What are you looking forward to in this year’s installment of Asia Week in New York?  

AW:   This is our second Asia Week since we became an official member. As many of my colleagues in the industry likely feel, I am eager to present the property in the upcoming auction to buyers, collectors, connoisseurs, and anyone who is passionate about Asian art. We invite everyone to come and preview the property, and to chat with our specialists so we can learn from one another. Many great exhibitions and lectures are happening simultaneously, and it will truly be a feast for anyone who enjoys learning about Asian art. We look forward to welcoming you all to our New York Gallery.