Harriet, Duchess of St Albans: A pair of Regency three-light candelabra, William Pitts, London, 1816

all elaborately cast and chased with lion masks, dolphins, eagles, and dragons representing the Four Elements, within swirling scrolls, flowers and rocaille on a matted ground, all pieces engraved with crowned foliate monogram HStA except two nozzles and one eagle finial on no. 6, engraved ABC for Angela Burdett-Coutts (the Duchess' heir), the detachable tops engraved underneath Ruth Hodgen

one finial with splitting to nozzle, one urn with splits to seams along rim, the central light with small dent, 2 nozzles and 1 finial mis-matched and don't fit well- the numbers on them indicate they were for the 4th candelabra in the set, marks on eagle finial no. 6, obscured by a split, overall good condition
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The fact that these candelabra, like many of her other possessions, are initialed and not engraved with the full St. Albans armorials is a testimony to Harriet Mellon's strength of character. Harriet Mellon, who was a famed actress, married firstly a fabulously wealthy banker and secondly a Duke. When she died in 1830 most of her lavish collection of silver was placed in a vault at Coutt's Bank where it remained until 1914.

The monogram is that of Harriet, Duchess of St. Albans, wife of William Aubrey de Vere, 9th Duke of St Albans, widow of Thomas Coutts, the banker. She made her first appearance on the stage at Ulverstone, 16 October 1787, in a farce The Spoiled Child.  Her debut in London was as Lydia Languish in Sheridan's Rivals, 1795, and her last appearance as Audrey in As You Like It, 1815. She married Thomas Coutts, 18 January 1815 at St Pancras and as this marriage was, it seems illegal, they were married by license at the same church last on 12 April. On his death, 24 February 1822, Coutts left her his universal legatee. The Morning Post recorded that "some time previous to his death he settled upon Mrs C the sum of £600,000 with the house in Stratton Street, all the plate, linen & c.- the service of plate is said to be the most valuable in any of the country- together with the house in Highgate, and all its appurtances...the whole makes her the richest widow in the United Kingdom". The Duchess was renowned for her extravagance and also for her generosity to the poor and needy, though the popular press continually attacked her. When she married the Duke of St Albans on 16 June 1827, he was 26 and she was 50. On her death she left the bulk of her property to Angela, her stepdaughter, 5th and youngest daughter of Sir Francis Burdett Bart, by Sophia, 3rd daughter of Thomas Coutts by his first wife, and afterwards suo jure Baroness Burdett-Coutts (died in 1906). She left, however, £10,000 per year, the house in Piccadilly, and Holly Lodge to her 2nd husband.

Much of her 35,000 ozs. of silver was in the Coutts Heirlooms sale, Christie's, London, 14 May 1914, including a service by Paul Storr after the designs of E. Hodges Baily. A soup tureen and stand was sold Sotheby's, New York, 21 October 1997, lot 177, and a set of four entrée dishes sold Sotheby's, New York, 14 April 1999, lot 217.  In April 2006 a pair of soup tureens was sold Sotheby's, New York, lot 115, and in November 2011 a pair of wine coolers was sold Sotheby's, New York, lot 249.

These candelabra incorporate baroque and rococo design elements seen in some of the most innovative silver of the Regency era. The most elaborate version of this design, a set of three- seven- and eight-light candelabra dating to 1813, is illustrated in M. Penzer, Paul Storr, 1954, pl. XLIII.