Edward 'Beau', Viscount Lascelles, was largely responsible for the remarkable collection of French furniture, Sévres porcelain and bronzes d'ameublement at Harewood. Following the Treaty of Amiens in 1802, with the consequent temporary cessation of hostilities between England and France, Lascelles travelled to Paris to capitalise upon the dispersal of the great French collections following the Revolution. His ecclectic taste, as can be seen in the items remaining at Harewood and the collection of Sévres and bronzes d'ameublement sold in these rooms 1 July 1965, embraced the greatest examples of the maîtres-fondeurs-ciseleurs oeuvre, mounting both Chinese and French porcelain, as well as commissioning Benjamin Vulliamy in 1806 to embellish three Chinese vases bought in Paris on his return to London.
A celebrated connoisseur, Lascelles' father Edward, 1st Earl of Harewood (d.1820) commissioned Samuel Page (d.1852), 'builder, surveyor and architect', to transform Adam's Roxburghe House at 13 Hanover Square from the great bibliophiles dream (as it had been under the 3rd Duke of Roxburghe) into a suitable setting for the 'fashionable' Regency collection acquired for him by his son: a collection that was held in high regard from an early date, Queen Charlotte and The Prince Regent visiting Harewood particularly to see the collection of Bronze d'ameublements and Sévres porcelain in 1815. Following Sir Charles Barry's alteration for Henry 3rd Early of Harewood from 1843-5, during which he remodelled the piano nobile sweeping away Adam's portico and circular dressing-room, much of the furniture and objects were removed to store and it is probable that these candelabra were also packed away until their rediscovery in 1988. These candelabra belong to an extremely closely related group, all masterpieces of the maîtres-fondeurs-ciseleurs art. However, although several of these comparable examples have been attributed to a group of interrelated craftsmen, it is impossible to discern a conclusive attribution, particularly as bronziers such as Pierre Gouthiére and Francois Rémond are known to have sub-contracted work out between each other and to have shared the designs of sculptors such as Louis-Simon Boizot. Perhaps the closest candelabra are those in the Wallace Collection, which Francis Watson, in the Wallace Collection Catalogues, Furniture, London 1956, F132 and 133 attributes either to Feuchéres (fl. after 1788-circa 1829) or one of Forestier family, possibly Etiénne. Two further pairs of candelabras, with closely related urns, one inthe Grand Trianon, the other in the Elysée Palace, are discussed respectively in denise Ledoux-Lebard, Le Grand Trianon...., where they were installed in 1808 in Napoleon's salon de reception, and in E.Du Monthier, Les Bronzes du mobilier National.....

Further related examples are in the Frick Collection, (ill. in H.Ottomeyer and P.Proschel, Vergoldete Bronzen, Munich 1986, fig. 4.3.6. where they are attributed to Gouthiére): the Huntingdon Art Gallery, San Marino and originally from the Alfred de Rothschild Collection (see R.Wark, French Decorative Art in the Huntingdon Collection, San Marino 1961 fig. 96 and 97, traditionally attributed to Gouthiére); the James A. de Rothschild Collection at Waddesdon Manor (ill. in G. de Belligue, The James A. de Rothschild Collection at Waddesdon Manor, Furniture, Clocks and gilt Bronzes vol II, Fribony 1974, no. 169); and two pairs formerly in the collection of The Earls of Rosebery, Mentmore Towers, Buckinghamshire, sold Sotheby's house sale 17 April 1964 lot 24-5 (one row in the J.Paul Getty Museum California, see G.Wilson and A.Sassoon Decorative Arts in the J.Paul Getty Museum, Handbook Malibu, 1986, no. 122)