A set of four William and Mary carved giltwood Ionic pilaster capitals circa 1700, attributed to the workshop of Samuel Watson

each with a central foliate clasp, egg and dart frieze and acathus volutes, together with five giltwood remnants of the original bases (9)

Francis Thompson, A History of Chatsworth, 1949, p.168-169

The capitals are each in fair condition but with surface and ingrained dirt and some old woodworm holes. Two are missing the acanthus leaf tips to the scrolls. All have other chips and losses throughout. The bases are in poor condition with separations and losses.
"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."

A loose pencil drawing by Samuel Watson in the collection at Chatsworth shows designs for very similar capitals. Watson worked in the first floor gallery after the room had been fitted up by Henry Lobb in 1694.

The original setting of these gilded capitals can be established from William Henry Hunt's watercolour of The Gallery (later The Library) painted in 1822 illustrated opposite. They sit at the head of each of the bookcases which had been inserted into the original baroque decoration by the 6th Duke. The Duke refers to his remodelling in the Handbook, p. 71: 'THE LIBRARY. We used to call this the Gallery. The old ceiling remains, the frieze alone is new, upon the walls were painted panels, now inserted in the ceiling of the Ball-room. The floor was deal; there were white painted window seats. It was difficult to light, but made a pretty ball-room. In 1815 I began to pull out the panels, and convert them into bookcases, by doing which I not only endangered the security of the walls, but approached certain flues much too nearly. For books the room is now well suited; it is only too narrow, and Sir Jeffry Wyatville's plan for a projection opposite the fireplace, taking in two windows, would have been a great improvement, but I disliked the appearance it would have had outside'.