Old Masters Portrait Paintings

Venetian School, late 15th century Saint Paul the Apostle oil on panel unframed 44.5 × 23.5 cm (17.5 × 9.3 in) framed 64 × 42 cm (25.2 × 16.5 in) No signature Provenance: Private ...

Early 18th-Century Italian Venetian Portrait Painting on Glass This wonderful early 18th-century portrait of a lady holding a small dog is a classic example of reverse glass painting...

Mason Chamberlin R.A. (London 1727-1787) Ebenezer Maitland Senior (1752–1834) and his wife Mary Winter (c. 1752–1835) with their son Ebenezer Fuller Maitland (1780–1858) in an interi...

Alonso Sánchez Coello (Valencia, 1531 – Madrid, 1588) Workshop of Portrait of a Noblewoman Oil on canvas 100 x 70 cm. - In an antique frame, 120 x 92 cm. This portrait, ric...

Portrait of the Lady with a Fan English School, second half 20th century after Diego Velazquez's (1599-1660) original painting oil painting on canvas, unframed canvas : 36 x 28 inche...

Provenance: The Raeburn Gallery, as by Maerten de Vos; Bukowskis, Stockholm, 15–18 April 1970, lot 133, as in the manner of Anthony van Dyck; Private collection, Sweden Essay: This ...

Corrado Giaquinto (Naples, 1703 – Naples, 1765) Venus tries to dissuade Adonis from going hunting Oil on canvas 131 x 100 cm. – With an important period frame (imperfections, mi...

Christ Healing the Sick French School, 19th century oil on canvas, unframed canvas: 15 x 20.5 inches Provenance: private collection, Europe Condition: some craquelure throughout, mo...

Artist/ School: French School, 19th century, after the earlier work by Rembrandt Title: Self portrait of the artist Medium: oil on canvas, framed in antique gilt swept frame. Fra...

French school, circa 1840, Portrait of a Gentleman, monogrammed D.L. on the lower right oil on wood panel 28.8 x 24,8 In a beautiful antique frame : 48 x 43.5 cm This gentleman’s...

Tavern Interior Dutch School, 17th century oil on metal, framed framed: 8 x 6.75 inches painting: 6 x 4.25 inches provenance: private collection condition: very good and sound condit...

17th Century Italian School Christ and the Canaanite Woman oil on canvas, framed Framed: 30.5 x 35 inches in an antique gilt 'hollow' fra...

This strong Dutch Old Master portrait oil painting is attributed to a follower of Anthony Van Dyck. Van Dyck painted the original portrait in 1618 as he noted top right Anno 1618. He...

Francesco Cairo (Milan 1607 – 1665), workshop of Queen Artemisia with a Cupid Oil on canvas 129 x 109 cm – Framed 143 x 125 cm. Reference bibliography: Francesco Cairo 1607–1...

The Madonna, Christ Child and St. John Italian Old Master, circa 1700's period oil painting on canvas, unframed Canvas: 28.5 x 24 inches conditon: overall very good for its age, a fe...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

This stunning, large portrait oil painting is attributed to Spanish Old Master Claudio Coello who is considered the last great Spanish painter of the 17th century. It has formerly been the property of Lady Beatrice...

Carlo Francesco Nuvolone (Milan 1609 – Milan 1662), attributed The Suicide of Queen Sofonisba Oil on canvas 76 x 60 cm. - In frame 100 x 85 cm. This painting captures the tr...

Portrait of the Madonna in Prayer 17th Century Italian School oil on board, framed framed: 6.75 x 6 inches board: 5 x 4 inches Provenance: private collection, England Condition: ver...

A contemporary cowboy is rendered with the gravity of a classical male nude. Surdo treats the body with the care of an Old Master while layering in the mythology of American masculin...

Francesco di Girolamo da Santacroce (Venice, 1516–1584) Saint Agatha Oil on canvas 126 x 68 cm. Framed: 137 x 80 cm. The painting depicts Saint Agatha (a companion piece fe...

Portrait of Wilhelm Burggraeff German School, after Rembrandt van Rijn inscribed verso oil on board, framed Framed size: 17 x 14 inches Board size: 15 x 12 inches Provenance: private...

Jean-Baptiste van Loo (Aix-en-Provence, 1684–1745) circle Portrait of a Lady Oil on canvas 93 x 77 cm. In antique frames (with imperfections) 103 x 87 cm. The painting depicts...

Archangel Michael Guido Reni (Bologna 1575–1642) Follower of 17th–18th century Oil on canvas 134 x 96 cm. - Framed 147 x 108 cm. The work in question, of excellent qual...

Jean-Baptiste van Loo (Aix-en-Provence, 1684–1745) entourage Portrait of a French Gentleman Oil on canvas 93 x 77 cm. In an antique frame (with imperfections) 103 x 87 cm. Th...

18th/19th Century School 'A scene of Christ entering Jerusalem' Medium: oil on canvas, framed Size of painting: 21.5" x 18.25" inches condition: overa...

La obra no va firmada El estado de conservación es bueno Se presenta enmarcada la obra con un marco posterior a la obra Medidas de la obra: 40 cm. de altura x 33 cm. de ancho. Me...

The Announcing Angel Lucrina Fetti, née Giustina Fetti (Rome, c. 1590 – Mantua, 1673) attributed to Oil on canvas 75 x 62 cm. - Antique gilded wooden frame 87 x 74 cm. The wo...

David Morier (c.1705–1770 London) An equestrian portrait of Field Marshal Sir John Ligonier, 1st Earl of Ligonier (1680–1770) Oil on canvas Canvas size - 40 x 50 in Framed size - 48 ...

Saint Michael the Archangel Workshop of Guido Reni (1575–1642) First half of the 17th century Oil on canvas Dimensions: 132 x 90 cm. With frame: 143 x 102 cm. The Saint...

Neptune on the Waves of the Ocean Workshop of Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591 – Bologna, 1666) Attributed to Ercole Gennari (Cento, 1597 – Bologna...

Giusto (or Justus) Sustermans (Antwerp, 1597 – Florence, 1681) Workshop of Portrait of Ferdinando II de' Medici (1610–1670), Grand Duke of Tuscany Oil on canvas 133 x 97 cm Fram...

This superb British Old Master portrait oil painting is attributed to circle of Thomas Lawrence and is surely by a very experienced hand. Painted circa 1820 the composition is a half...

Circle of Christian Wilhelm Ernst Dietrich (1712–1774) Germany Head of an Elderly Bearded Man oil on panel unframed 28 × 22.5 cm (11 × 8.9 in) framed 44.5 × 38.5 cm (17.5 × 15.2 in...

Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...

“Hon. George King, 1788” by John Russell (1745-1806) Regarded as Britain’s foremost pastellist, John Russell is well known for his portraits of the wealthy middle class. In particul...

Luca Cambiaso (Moneglia, 1527 – Madrid, 1585), a member of the circle of or follower of The Penitent Magdalene Oil on canvas 102 x 84 cm. - Framed 123 x 104 cm. The protagon...

This beautiful Italian religious Old Master oil painting is attributed to circle of Massimo Stanzione. Painted circa 1640, the composition is the Madonna holding baby Jesus as he sta...

Godfrey Kneller (Lübeck 1646 – London 1723) Portrait of an English noblewoman, presumably Mary Capel, Countess of Essex (1679–1726) Oil on canvas 128 x 104 cm. In frame 146 x...

Artist/ School: 18/19th Century Spanish School Title :Head study of Christ Medium: oil painting on wood panel, period gilt framed panel : 6 x 5 inches Provenance: private collect...

Artist/ School: 18th/ 19th century Continental School, after Murillo Title: Figures eating Grapes Medium: signed oil painting on metal, framed. Size:...

The Nativity of Jesus Flemish school, late 16th/early 17th century Gerard David (Oudewater, c. 1460 - Bruges, 1523) Follower of Oil on copper 30 x 25 cm. - In frame 47 x 42 c...

Artist/ School: English School, circa 1740's Title: Portrait of a Lady, traditionally identified as 'Anne of Chesterfield'. Medium: oil painting on canvas, framed Size: painting: ...

Portrait of Marc de Beauvau, Prince of Craon Studio of Hyacinthe Rigaud (1659–1743), circa 1710 Oil on canvas, not signed, dimensions: h. 80 cm, w. 63 cm Finely carved gilded wooden...

Portrait of a Gentleman wearing a Ruff Collar Dutch/ French artist, 18th century oil painting on copper, unframed copper board : 6.75 x 5 inches provenance: private collection, UK co...

This lovely British Old Master portrait oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1820 it is a seated half length portrait of a beautiful lady in a b...

Antonio Tempesta (Florence 1555 - Rome 1630) Circle The Conversion of Saint Paul on the Road to Damascus Oil on canvas 112 x 102 cm Framed 125 x 114 cm The scene depicts the e...

Half Length Portrait of a Tudor Merchant Gentleman in a Ruff Collar Trading Port City in the Distance 17th Century English School, artist unknown (unsigned) oil on canvas, unframed c...

The Announcing Angel Workshop of Vincenzo Carducci, known in Spain as Vicente Carducho (Florence, 1576 – Madrid, 1638) Attributed to Bartolomé Román (Montoro, c. 1587 – Madrid, 16...

This stunning British 18th century Old Master portrait oil painting, with exceptional provenance, is by noted artist George Romney. It was painted in 1788, commissioned by James Evelyn of Felbridge as it is of his younger daughter Anne, aged 20 years old. James was a Doctor of Law and Anne's mother was his second wife, Jane. Felbridge house, Anne's home, was in the village of Godstone in Surrey. This superb oil painting is a seated portrait of Anne, wearing a white dress with a green sash, her forearms exposed and her hands in her lap. Anne is blessed with the most wonderful long auburn curly hair and is visually stunning. Her body is partly turned away from the artist/viewer and she is slightly gazing down at us with confident, clear eyes. Anne is pictured in a landscape with a dramatic sky behind her. Romney's brushwork on her dress, hair and the background is superb. The delicate detailing of her facial features is also stunning. Sometimes Old Master portraits can be a little staid, but this one of Anne with her wild auburn hair and bold look is just magnificent. This is a fantastic example of George Romney's work and of an 18th century British Old Master with exceptional detailed provenance. Name plate states: Anne, younger daughter of James Evelyn of Fellbridge Esq. 1788, aged 20. Romney. Provenance. With Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851) With The Hon. Henry Berkeley Portman (1860-1923), Later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) By 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962) Thence by family descent. Painted in 1788. There are various labels verso. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, p.18, no. 3, at Buxted Park, as in the 'Dining Room, South Wall'. Further Bibliography: Gower (R. S.) Romney, London, 1904, p. 175 Kidson (Alex) George Romney, A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 2015, I, p. 205, no. 422 (illus).Ward (Humphrey) and Roberts (William) Romney: A Biographical and Critical Essay, London: T Agnew & Sons, 1904, p. 51 Condition. Oil on canvas. Image size 30 inches by 24 inches and in good condition. Frame. Housed in an ornate gilt frame with name plate, 37 inches by 31 inches and in good condition. George Romney (1734-1802) was born in Dalton-on-Furness, Lancashire, on 15 December 1734, the third of the eleven children of John Romney and Anne Simpson. Leaving school at the age of eleven, he worked for eight years in his father's cabinetmaking workshop before being apprenticed to a local painter, Christopher Steele, with whom he served for two years, from 1755 to 1757, in Kendal, York, and Lancaster. He married a Kendal girl, Mary Abbot...

This superb Italian religious Old Master portrait oil painting is attributed to follower of Guido Reni. Painted circa 1620, it is a head and shoulders portrait of Saint Jerome (about...

Spanish School, early 20th century Portrait of Fernando Álvarez de Toledo, the 3rd Duke of Alba (1507-1582). after the 16th century painting by Anthonis Mors oil on panel, framed f...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

Portrait of Grand Duke Pavel Petrovich (1754–1801), later Emperor Paul I of Russia After Alexander Roslin (1718–1793) Oil on canvas, oval, late 18th century This is an exceptionally handsome and historically resonant eighteenth-century portrait, uniting the immediacy of an intimate likeness with the authority of one of the defining dynastic images of Imperial Russia. Grand Duke Pavel Petrovich, the future Emperor Paul I, turns towards the spectator with a composed, almost conversational expression, his youthful face emerging softly from the restrained brown background. The rich scarlet of his coat, the deep blue of the sash and the flashes of gold, lace and jewelled decoration give the picture remarkable visual distinction, while the oval format concentrates attention upon the sitter’s face and magnificent ceremonial attire. Painted during the eighteenth century, the present work is a contemporary reduced version of Alexander Roslin’s monumental state portrait of 1777, now in the State Hermitage Museum, St Petersburg. Roslin’s full-length original measures approximately 265 by 168 centimetres; here, its essential elements have been reformulated as a more intimate portrait suitable for display within an aristocratic residence, diplomatic household or private cabinet. Pavel is dressed in the height of European court fashion of the later 1770s. His scarlet habit à la française comprises a close-fitting coat and elaborately embroidered waistcoat, enriched with scrolling metallic ornament, floral motifs and a sequence of large decorative buttons. The shoulder is finished with a densely worked epaulette-like band, while a white linen stock and delicate lace jabot frame the face. His powdered hair is dressed in the fashionable bag-wig, drawn back and tied with a broad black silk ribbon. Although the costume is unmistakably Russian in its dynastic significance, its cut and ornament belong to the international language of court dress then prevailing from Versailles and Vienna to Stockholm and St Petersburg. In Roslin’s original full-length composition, the costume was completed by matching scarlet breeches, silk stockings, buckled shoes, a sword and a plumed tricorne, all identifying Pavel as both a prince of the blood and a cultivated participant in the ceremonial life of Europe’s great courts. Across his breast passes the broad blue watered-silk sash of the Imperial Order of St Andrew the First-Called, the senior Russian order of chivalry established by Peter the Great. The sash, conventionally worn from the right shoulder towards the left hip, proclaimed the sitter’s position at the summit of the imperial hierarchy. Superimposed upon it is the red-enamelled cross of the Order of St Anna, surrounded in the portrait by scintillating, jewel-like highlights. The cross had a particular dynastic resonance: the order had been founded by Pavel’s paternal grandfather, Duke Karl Friedrich of Holstein-Gottorp, in memory of his wife Anna Petrovna, daughter of Peter the Great. Pavel’s display of the two orders therefore asserted not only rank and honour, but his descent from the founder of Imperial Russia and his inheritance through the Romanov and Holstein-Gottorp lines. Contemporary portraits similarly identify Pavel through the blue sash and star of St Andrew and the red cross of St Anna. Born in St Petersburg in 1754, Pavel Petrovich was the only son of Grand Duke Peter Fyodorovich, later Emperor Peter III, and Grand Duchess Catherine Alexeyevna, the future Catherine the Great. Through his father he was a great-grandson of Peter the Great and inherited the Romanov and Holstein-Gottorp bloodlines; through his mother, born Princess Sophie of Anhalt-Zerbst, he was connected to the extensive network of German princely houses that shaped eighteenth-century European dynastic politics. His childhood was dominated by the uncertainties of imperial succession. Soon after his birth, the Empress Elizabeth removed him to her own household and assumed control of his upbringing. Educated under the statesman Nikita Panin, Pavel studied history, geography and mathematics and became fluent in Russian, French and German. He was eight when his father ascended the throne in 1762, only to be deposed by Catherine within months and to die shortly afterwards in confinement. Although Pavel remained the acknowledged heir, Catherine ruled for another thirty-four years and excluded him from meaningful political authority. He was therefore publicly honoured as the future sovereign while being denied the practical experience of government. In 1773 he married Princess Wilhelmina Louisa of Hesse-Darmstadt, who converted to Orthodoxy as Grand Duchess Natalia Alexeievna. She died in April 1776 after a prolonged labour, together with her stillborn child, leaving Pavel widowed and the succession unsecured. A second marriage was arranged within months. His new bride was Duchess Sophie Dorothea of Württemberg, daughter of Friedrich Eugen, later Duke of Württemberg, and Friederike Dorothea of Brandenburg-Schwedt. Raised at Montbéliard in a cultivated German princely household, she converted to Orthodoxy as Maria Feodorovna and married Pavel in October 1776. The union strengthened Russia’s links with Württemberg and Brandenburg-Prussia, but also became an enduring domestic and cultural partnership. Maria was intelligent and artistically gifted, practising drawing, embroidery, ivory carving and hardstone work, while collecting books and decorative art and later supporting charitable and educational institutions. The couple had ten children, nine of whom survived childhood. Their eldest son, Alexander, succeeded Pavel as Emperor Alexander I and ruled during the Napoleonic era; their younger son Nicholas later became Emperor Nicholas I. Constantine Pavlovich became a prominent military figure and briefly stood at the centre of the succession crisis of 1825. Their daughters married into leading European dynasties: Alexandra into the Austrian imperial family, Elena into Mecklenburg-Schwerin, Maria into Saxe-Weimar-Eisenach, Catherine into Württemberg and Anna into the Dutch royal house. Through their children, Pavel and Maria extended Romanov influence across much of Europe. The birth of Alexander in 1777 secured the succession and prompted Catherine to give the couple the estate that became Pavlovsk, south of St Petersburg. Its Neoclassical palace, begun by Charles Cameron in the early 1780s, became closely associated with Maria’s artistic interests, family life and refined sociability. Gatchina, by contrast, reflected Pavel’s more martial character. There he developed his own court and pursued his interests in military organisation, ceremony and administrative discipline. In 1781–82 Pavel and Maria travelled through Europe as the Count and Countess of the North, visiting royal courts, artists, manufactories and antiquities collections. They acquired paintings, furniture, bronzes, sculpture, textiles and porcelain, helping to make Pavlovsk one of Russia’s most sophisticated expressions of international Neoclassical taste. Yet Catherine continued to restrict their independence, taking charge of the upbringing of Alexander and Constantine just as Empress Elizabeth had once removed Pavel from his own parents. This repetition deepened the estrangement between mother and son. Pavel finally succeeded Catherine in 1796, aged forty-two. His reign lasted little more than four years, but his Act of Succession of 1797 established male-line primogeniture and ended much of the uncertainty surrounding the Russian imperial succession. His attempts to regulate the court, army and administration, and to reverse elements of Catherine’s policies, alienated powerful members of the nobility and officer corps. In March 1801 he was assassinated during a palace coup at the Mikhailovsky Castle and was succeeded by Alexander. This knowledge lends the portrait particular poignancy: Pavel appears not as the embattled emperor of his final years, but as the elegant young heir at a moment when marriage, dynasty and the anticipated birth of a son seemed to promise stability and renewal. Roslin’s portrait should be understood within this urgent dynastic context. The Swedish painter had travelled to St Petersburg in 1775 at the personal invitation of Catherine II and was commissioned to paint monumental state portraits of the Empress, Pavel and Maria Feodorovna. The pendant portraits of the young couple presented the heir and his new wife as the polished, fertile and internationally connected future of the Romanov dynasty. Roslin recorded in 1777 that the ruling family had ordered multiple copies. At least six versions of Pavel’s portrait and twelve of Maria’s are known, and such replicas were distributed as courtly and diplomatic gifts. A pair was presented to James Harris, later First Earl of Malmesbury, then the British ambassador to Russia. The existence of numerous eighteenth-century replicas was therefore not accidental or merely commercial: repetition was integral to the commission’s political purpose. Each version extended the official image of succession from the imperial palace into allied courts, embassies and aristocratic collections. The present portrait belongs to that wider culture of dynastic dissemination. Rather than reproducing Roslin’s entire monumental setting, with its architectural balustrade, extensive Neva prospect, sword, hat and full ceremonial costume, the painter has selected the head and upper body and adapted them to an oval. This transformation changes the character of the image. The grandeur of the original remains legible in the orders, costume and confident turn of the figure, but the reduced composition produces a greater sense of proximity to Pavel himself. The face becomes dominant, and the future emperor appears less as a remote emblem of state than as a recognisable young man. The type also circulated through prints: an oval engraved version published in 1781 and now represented in the British Museum demonstrates how rapidly Roslin’s conception entered the broader visual culture of late-eighteenth-century Europe. The artistic economy in which the portrait was created differed substantially from the modern open market. In Catherine’s Russia, the most prestigious portrait production was sustained by imperial commissions, aristocratic patronage and diplomatic gift-giving. Roslin’s success was extraordinary: during approximately two years in Russia he received around seventy-five commissions, many of which had to be completed after his return west. The appetite for his work reflected both the wealth of the Russian court and its determination to present itself through the most polished international style available. Alongside imported masters such as Roslin, Russia was developing its own institutional artistic culture. The Academy of the Three Noble Arts had been founded in St Petersburg in 1757 and was elevated by Catherine in 1764 to the Imperial Academy of Arts. It recruited European teachers, trained Russian...

Joseph Highmore (London 1692-1780 Canterbury) Portrait of a Knight Companion of the Order of the Bath, c. 1725-35 Previously identified as Charles Whitworth, 1st Earl Whitworth (1752...

Pier Francesco Mola ‘il Ticinese’ (Coldrerio, 1612 – Rome, 1666) workshop The Temptations of Saint Anthony Oil on canvas 75 x 62 cm. - Framed (with defects) 82 x 71 cm. The the...

Andrea Solario (Milan, c. 1470 – Milan, 1524) follower of Ecce Homo oil on canvas 64 x 45 cm. framed 92 x 72 cm. Reference bibliography: David Alan Brown: Andrea Solario, M...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

The Young Shepherd English School, 18th century circle of Sir Joshua Reynolds oil on canvas, unframed Canvas: 30 x 25 inches Provenance: Private collection Condition: very good condi...

This striking mid-17th-century German oil painting depicts Gustavus Adolphus Meller (or Müller) of Erdingen and Wildenstein at the age of 36. An inscription identifies the sitter as ...