Meanwhile, sister Cimmie married Sir Oswald Mosley. She was also one of the seven guests at his wedding to Wallis Simpson in Another admirer was Lord Halifax Foreign Secretary at the start of the war who wrote her long and passionate letters. By the time she moved into 65 Eaton Place, she was travelling the world doing charitable works — for which she was made a CBE in With her black poodle, Sambo, Lady Alexandra remained at 65 Eaton Place until her death at the age of 91 in At the top of the building, in the fourth-floor flat, are a banking couple — he works for an investment bank called Altium Capital, she for Barclays.
On the third-floor, is a flat generally left empty but owned by a Portuguese company. The first and second floors are rented out by an award-winning Greek woman poet and her lawyer husband.
The owner of the ground and first-floor flat is a director of capital management firm who has his own domestic staff and a chauffeur. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline.
Argos AO. Privacy Policy Feedback. Glamorous: Claire Foy co-stars. Share or comment on this article: The real-life stars of Upstairs, Downstairs: The intriguing and very sexy families who lived at Eaton Place.
Comments 14 Share what you think. View all. We have noticed that there is an issue with your subscription billing details. Please update your billing details here. Please update your billing information. The subscription details associated with this account need to be updated. An aerial view of Eaton Place, showing the junction with Lyall Street see map above.
The mews cottage where Thomas and, later, Edward and Daisy would have lived can be seen at the rear of the back garden. Photos by kind permission of Morvyn Finch. Upstairs, Downstairs The house 1. Thackeray reminds her. She is a talented free agent weighing her options in a time of financial insecurity. The story runs from the January death of King George V through to the end of the year, with the abdication of Edward VII along the way, and like its predecessor, it embeds the family drama within a sociopolitical portrait of England at a time of confused national identity.
And while the narrative never quite coheres into a compelling whole, there are enough independently arresting, unexpectedly moving moments to carry you through, hopping from one to the next like stones in a river, on the way to a strenuously tidy conclusion.
This is a gentler drama than its original.
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