William and Mary carved oak flowerheads late 17th century, attributed to the workshop of Samuel Watson

forty, in the form of sunflower heads in various states of bloom including closed buds, semi-open and fully open (40)

For comparatives see The Duchess of Devonshire, Chatsworth - The House, London, 2000, p. 15

Most of the flower heads are in very good condition but with surface and ingrained dirt. A few have detached or missing sections.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

These varied flowerheads would have formed part of the cornice in one of the State Rooms. Each would have punctuated the space between a carved bracket or modillion (see Lots 29-30). This sophisticated architectural arrangement is still in evidence at Chatsworth and can be seen in the Great Chamber as an impressive surround to Antonio Verrio's painted ceiling from 1691. Watson invioced the Duke on the 29th September 1701 for 24 roses between each medillion at 6d per rose (Watson's book, called Designs, Bills and Agreements, Devonshire archive).