Alexandre Rapoport Brazilian Rosewood Armchair and Ottoman in Warm Taupe Mohair, Brazil, 1960s — Lot 908
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Description
Sculptural rosewood framing and generous, enveloping upholstery define this Brazilian modern armchair and matching ottoman by Alexandre Rapoport. Dating to the 1960s, the ensemble brings together a tall, gently inclined back, distinctive upholstered head supports, and broad wooden armrests. Newly upholstered in warm taupe mohair, it combines the presence of a substantial lounge chair with the openness and clarity of an exposed wooden structure.
The Brazilian rosewood frame deserves attention from every angle. Tall rear uprights trace the backrest’s incline, while tapered front legs rise above the seat to meet shaped side rails. Elongated armrests sit lightly above these rails, their rounded ends and softly sculpted edges providing a comfortable resting surface for the forearms. Small curved openings beneath the arm pads introduce breathing room within the structure, balancing the strong vertical supports with a more fluid line.
Viewed from behind, the chair reveals curved horizontal rails that follow the upholstered back and connect the slender uprights. The construction remains visually open, allowing the relationship between wood and cushioning to remain legible. This carefully resolved rear profile makes the chair particularly compelling when placed away from a wall.
The rosewood displays expressive figuring, with dark, meandering veins moving through reddish brown, amber, and deeper chocolate tones. Across the broad armrests and structural rails, these natural variations become an integral part of the design. Beautiful aging gives the timber depth and warmth, while its restored surface retains a gentle luster that reveals the grain without overpowering it.
The new mohair introduces a quieter counterpoint to the richly figured wood. Its warm taupe color carries soft camel and muted tobacco undertones, shifting subtly with the light and the direction of the pile. Fine, tactile texture gives the upholstery depth, while neatly piped edges articulate the cushions and the curved outlines of the upper back supports.
Comfort is central to the chair’s character. A broad, generously padded seat accommodates a relaxed posture, while the high back and projecting upholstered wings provide support around the head. Three discreet buttons punctuate the upper backrest; shallow button tufting across the seat and ottoman creates gentle depressions within the plush surfaces. The effect is tailored yet inviting, preserving the fullness of the cushioning. Positioned in front, the matching ottoman supports an extended lounging position and repeats the chair’s tapered legs, exposed rails, and softly rounded upholstery.
Rapoport’s furniture belongs to a broader career encompassing architecture, painting, drawing, and industrial design. His involvement in industrial design extended from the mid-1950s into the early 1970s, with furniture forming part of his practice during the 1960s. This ensemble can be read in that interdisciplinary context: its clearly expressed framework suggests an architectural sensibility, while the shaping of the arms and the interplay of wood grain and upholstery give it a distinctly sculptural character.
Together, the armchair and ottoman offer an expressive example of Brazilian mid-century seating, distinguished by richly aged rosewood, thoughtful construction, and exceptional lounging comfort. Equally suited to a reading corner, study, or living room, the set rewards close inspection while inviting daily use.