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""...Cette fortune et ce courage, Anne Sinclair en a hérité de sa famille Rosenberg. Son grand-père, Paul, l'un des plus grands marchands français d'art contemporain de l'entre-deux-guerres, quitte Bordeaux en bateau pour les États-Unis le 17 juin 1940, accompagné de sa femme et de sa fille (future épouse du résistant Robert Sinclair et mère d'Anne). Âgé de 17 ans, le fils de Paul, Alexandre (futur oncle d'Anne), décide de prendre la mer pour l'Angleterre, où il s'engagera dans les FFL. Il ne rentrera en France qu'en 1944 avec la 2e DB du général Leclerc, après avoir combattu sur tous les fronts…"
www.lefigaro.fr 
" Alexandre Rosenberg, né en 1921, décédé en 1987, collectionneur, marchand d'art à New-York, president of the Art Dealers Association of America."
gillesdubois.blogspot.fr
"Paris. Porte du La Villette. Dimanche 27 août. 1 heure du matin.
« Départ en opérations pour dégager le nord de Paris », note dans son journal de marche le lieutenant Alexandre Rosenberg, du 3e régiment d'artillerie coloniale de la 2e DB"
www.rosevalland.eu
"Renseigné par l'intermédiaire de Rose Valland et de la Compagnie des Chemins de Fer, un détachement de l'armée de Leclerc s'empare à Aulnay du train 40 044 (dit ensuite le "train d'Aulnay") contenant le dernier convoi d'oeuvres d'art pour l'Allemagne. L'officier qui dirige l'opération est Alexandre Rosenberg, le fils de Paul, qui, de cette façon, récupère de nombreuses oeuvres de la collection de son père."
Source : www.centrepompidou.fr
Alexandre Rosenberg, still a student at the time of the war's outbreak, found his way to England at the end of June 1940, shortly before the occupation of the last free French ports. During the next five years, he served as an officer with the Free French Forces in their military campaigns in Africa, France and Germany. After his demobilization in 1946, he went to New York to be with his family and after a period of study and apprenticeship, became an associate of Paul Rosenberg & Company in 1952, later assuming his father's place as director of the company after the death of Paul Rosenberg in 1959. Under Alexandre's guidance, the company maintained its position in its traditional field and continued to flourish as in the past, both in the United States and in Europe. While 19th and 20th century French painting remained the company's principal focus, however, its horizons also broadened to encompass more of the old masters and select aspects of contemporary painting, drawings and sculpture.
Among colleagues and among museum professionals and collectors, Alexandre Rosenberg enjoyed the reputation of being one of the pre-eminent authorities in his field of activity. He was also known to be an excellent scholar and a dealer possessing an undisputed sense of integrity and taste. In 1962 he was one of the founders and the first president of the Art Dealers Association of America, a professional organization bringing together the most important galleries in New York and throughout the United States. The aims of the ADAA were the elevation and maintenance of standards for professionals in the art market. Alexandre Rosenberg remained one of the association's permanent Board members throughout his life. In this capacity, his assistance was very often requested also by the American government in dealing with various issues in the fine arts field. Notably, he served on a consulting committee for the Internal Revenue Service for several years.
Throughout the 1970s and until his premature death in 1987, Alexandre Rosenberg was an active initiator of and participant in a wide variety of commercial and cultural projects both in the United States and abroad. He believed that while the wealth of the market in terms of pictures of high quality had considerably diminished over time through the acquisitions of museums and collectors in the 20th century, it was nonetheless still entirely possible to bring together objects of prime importance compatible with the requirements of museums in the field of 19th and 20th century French painting, watercolors, drawings and sculpture. All that was necessary to build such a collection was a certain body of knowledge and contacts and, most importantly, a solid sense of what is pre-eminent in a given class of works. He believed that the difficulty resided less in the rarity of high-quality works than in the increasing evidence of incompetence in evaluating that quality. With time, appropriate effort and careful planning, fine collections could indeed still be put together.
www.moma.org 
Laurent le mercredi 27 janvier 2016 - Demander un contact Recherche sur cette contribution | |
