London – It's been 15 years since audiences first met the aristocratic Crawley family and their domestic staff. Through many loves and losses, births and deaths, scandals and seismic world events, the doors of Downton Abbey have remained open. Now after running for six seasons from 2010 to 2015 and with a third and final motion picture about to hit the screen this September, the landmark series Downton Abbey is set to bid a final goodbye. But before the doors of Downton close for good, Bonhams is to hold a farewell exhibition and auction of props, costumes, and set pieces from across the series.

The sale will run online on bonhams.com from 18 August to 16 September, alongside a special exhibition taking place at Bonhams New Bond Street, London, which will be free and open to the public.

The Downton Abbey series are produced by Carnival Films, which is part of Universal International Studios, a division of Universal Studio Group. Downton Abbey: The Grand Finale is produced by Carnival Films, with Focus Features and Universal Pictures International distributing. With more than 120 million viewers around the world, the Golden Globe, BAFTA, and Primetime Emmy Award-winning series created by Julian Fellowes is one of the most popular programmes in the history of British television.

Carnival Films will contribute their proceeds from items they have donated to Together for Short Lives, the UK's leading charity for children with life-limiting conditions and their families. The charity provides vital care and support, helping families make the most of every moment they have together, whether at home, in hospital, or in children's hospices across the country.

'The business of life is the acquisition of memories'
-Carson

Writing in Bonhams Magazine, Philippa Stockley, said: "From the opening shock of a sunk Titanic, through the First World War, with newly working women and their bitter struggle for votes; with, too, the simplification of men's clothing (in the trenches for example, wrist watches replaced pocket watches) to a post-war world of fewer servants, embryonic workers' rights, and technological advances from electricity and telephones to automobiles, aeroplanes, gramophones and sewing machines. Downton's Crawley family adopted them all...Beautifully crafted throughout, spellbound viewers were immersed in a crucial period and emotional upstairs-downstairs saga."

Charlie Thomas, Bonhams UK Group Director for House Sales and Private & Iconic Collections, commented: "Downton Abbey is an example of the very best of British television and filmmaking, and we are delighted to be offering the props and costumes from this landmark series. Downton Abbey is an exceptionally well-researched piece of storytelling on aristocratic society in the early 20th Century, and the costumes and props show the impressive attention to detail that brought the world to life on screen and making it so beloved by millions across the globe."

Gareth Neame, Executive Producer & CEO of Carnival Films commented: "The world of Downton Abbey is beloved around the globe for its rich, timeless storytelling. These iconic set items hold a special place in that history, and we are proud to see them help support the vital work of Together for Short Lives."

Highlights of the sale include:

Michelle Dockery (as Lady Mary): Wedding dress and accessories, worn for the marriage of Lady Mary Crawley to Matthew Crawley, Season 3, Episode 1. A pale apricot chiffon dress. Estimate £3,000 - £5,000 (3 500 € - 5 800 €) © Bonhams 2001-2025

with lace tabard overlay with metallic thread detailing, a dropped waist sash, a long tulle veil, a pair of silver shoes, and a jewelled tiara with leaf motifs set with gemstones, accompanied by a bouquet of prop lilies, (4)

Note: This wedding dress was worn by Lady Mary Crawley in one of the most memorable moments of Downton Abbey, in her wedding to Matthew Crawley (Dan Stevens). It is a particularly recognisable dress, and quickly became one of the most celebrated, as the dress captures the refined elegance and romanticism of the early 1920s. The dress is perfectly showcased during a scene where Lady Mary descends the Downton stairs. The dress's long train cascades down the staircase, while the viewer gazes up from the foot of the stairs, lending an ethereal quality to both Lady Mary and the dress.

The costume was designed by Caroline McCall, who was nominated for a BAFTA for her work on the series. McCall developed a silhouette that echoed the understated sophistication of the era. She sourced antique lace to achieve an authentic vintage feel, crafting a pale apricot chiffon gown with a tabard-style lace overlay and metallic thread detailing. The dress has a dropped waist sash, in keeping with the transitional fashion of the early 1920s, and is accompanied by a long tulle veil and silver shoes.

The dress itself was constructed by respected costume maker Jane Law, known for her exquisite attention to historical detail. Completing the ensemble is a delicate jewelled tiara in a foliate motif, loaned by the esteemed London jewellers Bentley & Skinner, purveyors of fine antique jewellery and Royal Warrant holders. The present lot has a duplicate tiara, made as a prop.

Mary: "Will I do, Carson?"
Carson: "Very nicely, my lady"

Laura Carmichael (as Lady Edith): Wedding dress and accessories, worn for the marriage of Lady Edith Crawley to Bertie Pelham, Marquess of Hexham, Season 6, Episode 9, 'The Finale'. An ankle length wedding dress. Estimate £3,000 - £5,000 (3 500 € - 5 800 €) © Bonhams 2001-2025

tapering down in lace layers, ivory lace detailing throughout, with train and veil, with a pearl necklace and silver shoes with ankle strap, and two headpieces: the first in gold, the second with cream pearl effect beads, (7)

Note: This is a significant costume in the narrative arc of Lady Edith Crawley, this wedding ensemble marks the culmination of her personal and emotional journey across all six series of Downton Abbey.

Lady Edith has the most notable style evolutions in the series, transforming from the often-overlooked middle sister into a resilient, independent woman of substance, her fashion choices reflecting her growth and increasing confidence. By the time of her marriage to Bertie Pelham, Edith has blossomed, embracing a modern elegance, that can be seen in the present lot.

The gown itself was sourced by the costume department from a vintage boutique in Paris, chosen for its period authenticity and delicate craftsmanship. The bodice and neckline were subtly reworked to better suit the character and the occasion, and a dramatic train of Brussels lace was added to enhance the silhouette and lend the ensemble a romantic, and whimsical quality.

Jessica Brown Findlay (as Lady Sybil): The 'Harem' pants, Season 1, Episode 4. Blue harem trousers. Estimate £3,000 - £5,000 (3 500 € - 5 800 €) © Bonhams 2001-2025

with peacock bodice, pearl encrusted headpiece, Egyptian style necklace and duck egg shoes with ankle strap, (4)

Note: Lady Sybil Crawley was the youngest daughter of Lord and Lady Grantham, and is remembered as the most empathetic and forward-thinking of the Crawley sisters. The present lot is certainly one of the most important of Lady Sybil's costumes, and is emblematic of her character.

Lady Sybil wears this piece when she comes down for dinner, prompting many raised eyebrows, murmurs and shocked responses from her family. This piece is juxtaposed in the scene by the costumes of the rest of the cast, who represent a more conservative culture. Instead, Sybil represents female expression and rebellion, away from the corseted restrictions of Downton, and indeed a changing world.

The 'harem' pants echoed the Eastern design and fashion influences that were permeating through Europe at the time, in part influenced by the Ballets Ruses, founded by Sergei Diaghilev, beginning their performances in Europe in 1909, and having made their debut at the Royal Opera House in London during 1911. Paul Poiret, a notable French designer, was greatly inspired by the daring and magnificent costumes of the Ballets Russes and began to design equally extravagant and innovative clothing as a result, launching his own harem pants collection in 1911.

The panel of original embroidery for the peacock bodice was sourced from a vintage fair, the pantaloons were made from silk chiffon sourced from London, in Shepherd's Bush Market, whilst the headpiece is an original from the period.

Literature: E. Marriott, The Costumes of Downton Abbey, pp. 153-156, 2023.
The Metropolitan Museum of Art, "Paul Poiret (1879–1944)," Heilbrunn Timeline of Art History, Accessed July 4, 2025.

Laura Carmichael (as Lady Edith): The Criterion dress, Season 4, Episode 1. . Estimate £2,000 - £3,000 (2 300 € - 3 500 €) © Bonhams 2001-2025

An original peacock motif bodice, with attached silver beaded halter neck, and long teal chiffon and satin skirt, with cream gloves, and teal shoes with ankle strap, (3)

Note: This dress is one of Lady Edith's most beloved pieces among 'Downtonians'. It features in the episode where Lady Edith and Michael Gregson meet at the Criterion in Piccadilly.

This dress was designed by Caroline McCall, and is a departure from both Edith's quintessential wardrobe but also juxtaposes her against the clothes of the rest of the Downton family who are still in mourning, following Mathew's death.

The striking teal and gold of the dress create a visual unity on camera between the gold tiled setting of the Criterion, perhaps suggesting that Lady Edith is in her natural habitat, or that she fits into London life.

McCall had found the original fabric for the bodice in Paris. McCall conserved the fabric, by backing it and reinforcing it for the bodice. A modern teal chiffon was then added to the skirt, creating a hybrid dress that has both vintage and modern materials.

Elizabeth McGovern (as Cora, Countess of Grantham): A teal dress with terracotta pleated coat, Season 5, Episode 3. A Terracotta silk coat with floral chiffon lining and fine knife-pleating, teal dress. Estimate £2,000 - £3,000 (2 300 € - 3 500 €) © Bonhams 2001-2025

with cream appliqué at front centre and back centre, with maroon suede gloves, with a maroon hat with purple star motif ribbon, and maroon round toe leather shoes with a single strap and side buckle, (5)

Note: The silhouette of this costume is loose and fluid, reflecting the fashion of the 1920s. The striking contrast between the vibrant silk coat and the teal silk dress ensures Cora stands out both in the street scene and the National Gallery scene of the episode. In these moments, she is courted by Simon Bricker, and the choice of brighter colours reflects the warmth and attention she receives. Costume designer Anna Robbins employed this vivid palette to underscore what she described as the "charged atmosphere of the scene."

The silk coat is an original vintage piece sourced by Robbins in Paris, while the teal dress was created by the Downton Abbey costume team but embellished with original appliqué.

The terracotta coat is notably re-used in later episodes and seasons, particularly in Season 6, reinforcing the realism of the series, characters re-wear garments, just as people do in real life.

Literature: E. Marriott, The Costumes of Downton Abbey, pp. 34-35.

Dame Maggie Smith (as Violet Crawley, Dowager Countess of Grantham): Light blue dress with silver detailing, Season 6, Episode 9. A light blue satin dress. Estimate £1,000 - £1,500 (1 200 € - 1 700 €) © Bonhams 2001-2025

with silver lace trimming and two tone silver and cream mesh sleeves with an embroidered lace collar, satin skirt with a knife-pleat hem, with light blue belt, and a gold beaded clutch bag, (3)

Note: Also used in the Season 6 photoshoot.

An early 19th century oak dresser. First seen in Season 1, in the Servant's Hall; 182cm wide x 35cm deep x 219cm high. Estimate £1,000 - £1,500 (1 200 € - 1 700 €) © Bonhams 2001-2025

The plate rack fitted with three shelves above three frieze drawers on front column supports, above a pot shelf on turned front feet, dressed with a collection of kitchen props, to include a cream enamel colander; a carved and turned beech and glass egg timer; a copper adjustable student's lamp; a pine butter pat; an oak letter rack containing hand written ingredient lists, recipes and household planning calendar created by the Graphics Department; two pewter jugs; a selection of enamel kitchenware, including a large mixing bowl; and a large quantity of ramekins, etc.

The Downton Abbey Bell Wall. First seen in Season 1, in the Servant's Hall, made by the Art Department's model makers, 300cm wide, 12cm deep, 85.5cm high. Estimate £5,000 - £7,000 (5 800 € - 8 100 €) © Bonhams 2001-2025

A large bespoke servants bell wall, with rectangular ebonised panelled back mounted with twenty brass bells on steel springs centred by cast gilt brass patera, each bell above painted plaques relating to specific rooms including the Library, Front Door, Princess Amelie, Grantham, Nursery and Dining Room, the bell springs attached to wire cord.

Note: The Bell Wall is an integral part of the Downton Abbey world, featuring from the first season until the last. Overlooking the servants' dining hall it represents the inbetween space between 'upstairs' and 'downstairs' and acts as a springboard for much of the action in the series.

1925 Sunbeam 20/60hp; Registration no. HA 9165; Chassis no. 1033E; Engine no. 1032E. First seen in Season 2 and used throughout Seasons 3, 4 and 5 and in all three films. Estimate: £25,000 - £35,000 (29 000 € - 40 000 €) © Bonhams 2001-2025

Note: The vendor of this car is not Carnival Film & Television Limited.

"The 20/60 was considered by many to be far superior to the Rolls Royce 20hp at a chassis price some 25% less, and it is recorded that Henry Royce communicated from his home in Le Canadel in the South of France to those in Derby, 'keep an eye on what is going on at Sunbeams', with a particular regard to this model." - Bruce Dowell, Sunbeam: The Supreme Car.

John Marston Limited's first Sunbeam production car, a De Dion-engined voiturette, was sold in 1901, but it was not until 1907, two years after the Sunbeam Motor Car Company had been formed, that the firm produced its first all-British model, the 16/20. The arrival of designer Louis Coatalen in 1909 and the pursuit of an effective competition programme enabled Sunbeam to establish a formidable reputation prior to WWI, its superbly made products enjoying a reputation rivalling that of the best from Alvis and Bentley thereafter.

Introduced at the 1923 Olympia Motor Show and priced at £950 for the tourer model, the first 20hp Sunbeam of the post-war era enjoyed a production life in its initial form of only two years, being superseded by a new Twenty in 1926. The first Twenty featured a massively built chassis frame and was powered by a 3,181cc overhead-valve 'six'. This engine retained separate cylinder block and crankcase castings and was fed by a Claudel Hobson carburettor mounted on the offside, while the auxiliaries, including water pump, dynamo and magneto, sat on the nearside. The right-hand-change gearbox incorporated four forward speeds and reverse gear, with 'torque tube' drive to the rear axle, while the Twenty's suspension was typical of the day, featuring half-elliptic springs at the front and cantilever springs at the rear. According to Dowell, only 1,560 of the early-type Twenty were produced, of which only 45-or-so survive, that offered here being one of them.

This rare survivor of the early Sunbeam 20/60hp will be familiar to devotees of Julian Fellowes' immensely popular and multiple award-winning television drama series, Downton Abbey (2010-2015), which chronicles the lives of the aristocratic Crawley family between the years 1912 and 1926. First seen in Season 2, the Sunbeam was used throughout Seasons 3, 4 and 5, and in all three films.

Reputedly, the car's first custodian, a mill owner, got Sunbeam to fit Rudge Whitworth wheels at the rear as the originals kept getting caught in the Blackpool tram lines! The vendor advises us that the Sunbeam is unrestored apart from a repaint, and that new pistons and rings were fitted as a precaution when the engine was inspected after the car's purchase in the 1990s. Described by our vendor as in generally fine running condition, the car carries commodious seven-seater saloon coachwork and is finished in maroon with dark blue leather interior, the latter original and unrestored apart from the seat squabs. The only notified modification from factory specification is the provision of discretely concealed flashing indicators. A set of six period-correct artillery wheels shod with new tyres and tubes is included in the sale. Offered with a UK V5C registration Certificate.