This set of lounge chairs is attributed to Vittorio Introini and follows the low, sculptural seating forms associated with his work for Saporiti Italia in the 1960s.

Design
The chairs are organised around two exposed metal side supports that carry the whole outline from floor to top rail. From the side, the front support forms a squared loop that sits flat to the floor before turning upward and over the front of the seat, whereas the rear support rises in a broader curve and continues past the backrest. That difference between the tighter front bend and the taller rear sweep gives the profile a forward stretch and a more upright back section, so the silhouette remains legible even when the chairs are seen across a room.

The tan nubuck upholstery is handled as a continuous surface rather than a loose arrangement of separate cushions. The seat runs forward and folds down over the front edge into a full upholstered apron, which closes the view at the front and makes the low body of the chair appear denser than the open frame at the sides. Behind it, the backrest stands as a distinct padded plane set between the metal supports. That separation keeps the junction between seat and back easy to read, and it also leaves a small visual break between the upholstered fields and the frame.

Seen from the rear, the chairs are more open than the solid front suggests. The backrest sits within the metal outline, leaving the side supports fully visible as they curve down to the floor. At the top, the metal extends slightly beyond the upholstered back and flares outward, creating a thin projecting edge that sharpens the outline. Beneath the seat, the photographs show visible fixings and a reddish-orange underside panel, so the chairs do not attempt to conceal their assembly completely; the support structure remains part of what is seen when the chairs are viewed from an angle or from behind.

Close views show how the nubuck surface changes across the pair. The nap produces lighter and darker passages across the seat and back, and use has left broad areas of tracking and creasing that follow the body's movement on the seat plane. This shifting surface softens the large upholstered sections, in contrast with the cooler, reflective metal edges that hold a crisper line around them. Black protective strips along the floor-contacting edges visually ground the frames and mark the base line, and one worn label attached to the metal support provides an additional physical detail within the construction.

Condition
Visible wear is consistent with age and use. The nubuck shows some creasing, tracking, tonal variation and surface marks, and the polished metal frames show scratches, rubbing and small signs of wear. Contact us for information about re-upholstery.