Sutton Place, 3 miles (4.8 km) north-east of Guildford in Surrey, is a large Grade I listed Tudor prodigy house built c. 1525 by Sir Richard Weston (d. 1541), a courtier of Henry VIII.

It is of importance to art history in showing some of the earliest traces of Italianate Renaissance design elements in English architecture. In modern times, the estate has had a series of wealthy owners, initially J. Paul Getty, then the world's richest private citizen, who spent the last 17 years of his life there. It is currently owned by a discretionary irrevocable trust created by an Uzbek Russian billionaire Alisher Usmanov. A definitive history of the house and manor, first published in 1893, was written by Frederic Harrison (d. 1923), jurist and historian, whose father had acquired the lease in 1874.

Bindoff (1982) stated:

The building, with its perpendicular forms overlaid with Italian ornament, bears little resemblance to any other courtier's house of the 1520s, and it ranks with the vanished Nonsuch Palace as a landmark in the introduction of Italian Renaissance ideas"

Harrison (1899) stated it to be "a landmark in the history of art", and "a cinquecento conception in an English gothic frame". He identified it as "one of the first houses built as a peaceful residence, with no thought for defence...one of the first country houses in the modern sense, instead of an imitation castle...Weston perceived that the Wars of the Barons were over, that a gentleman might live at his ease under protection of law and the king's peace". Weston was certainly daring in his choice of eye-catching decoration above his front-door, for which he surely risked being ridiculed by his manly friends, including the king himself: innocent loving children at play: the amorini. Was this a signal by an avant-gard Sir Richard to his visitors, many of whom must have been valiant and experienced soldiers, that his house was to be a haven where love and play were de rigueur, not the old-fashioned militaristic conversations and behaviours? What a different message this was to that placed above the gates of Dante's Inferno: Lasciate ogne speranza, voi ch'intrate, "Abandon all hope, ye who enter here".

At Sutton, the defensive towers and turrets of the old castles and fortified manors have been reduced to mere pilasters, covered with decorative terracotta, caricatures of their former selves, perhaps as symbols of a deliberate rejection of defensive elements by Weston. The symbolism of the short stretch of crenellated parapet on the roofline above the front-door, one of the most potent aspects of the old defensive fortress, has been disarmed and cancelled-out by the almost jarring sight of a covering of yet more playful amorini. A more deliberately dissonant juxtaposition would be hard to imagine, yet that is what Sir Richard ordered to be erected. Sutton is clearly a house with a message to proclaim, which would not have been, could not have been, missed by its visitors.

The house is built of red brick and was originally of four blocks enclosing a quadrangle exactly 81 ft. 3 ins. square. The northern block or wing was demolished in 1782, giving the house its present open appearance of a U-shape, the two surviving flanking wings forming a courtyard looking to the east. An unusual feature is that, due to the extreme flatness of the site, the entire ground floor of the whole house stands on the exact level of the soil, so that no step exists for entering the house on any side. It is set within a separately listed formal parkland at the end of a long driveway.

The decorative elements made from moulded terracotta on the facade are in an Italian Renaissance style. They consist of designs made from 40 to 50  different moulds, most strikingly comprising a panel of two rows of amorini immediately above the entrance door. Such Italianate influence had perhaps never before been seen in English architecture, and is thought to have resulted from designs seen by Weston during his travels on embassies to France, where he might have seen some of the newly built chateaux on the Loire. With very minor exceptions, no stone was used in the building and decoration of Sutton Place, only brick and terracotta. Thus, the bases, doorways, windows, string-courses, labels and other dripstones, parapet, angles, cornices, and finials are all of moulded terracotta. Such usage is only found in two other contemporary English buildings, East Barsham Manor in Norfolk and Layer Marney Tower in Essex. Its use was, however, rapidly abandoned in England, to appear again only in the Victorian era. The terracotta proved very hard-wearing and was described by Harrison in 1899 as "sharp and perfect" in condition. The terracotta has, however, undergone, in the 1980s, a £12 million refurbishment, involving much replacement, by the specialist firm Hathernware Ceramics Ltd, which used 18 different colour blends of clay to match the original variety of shades. Prior to that, it seems the only new elements were from 1875 when 10 new terracotta mullions and window-frames made by Messrs Blashfield of Stamford, from moulds of existing windows, replaced sash-windows inserted in the 18th century. Two completely new small windows were, at the same time, created from terracotta in the gables of the quadrangle.