best photos of Wendy Hiller

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Early years

Born in Bramhall, Cheshire, the daughter of Frank Watkin Hiller, a Manchester cotton manufacturer, and Marie Stone, Hiller began her professional arrangement as an actress in repertory at Manchester in the early 1930s. She leading establish achievement as slum dweller Sally Hardcastle in the stage rendering of Love on the Dole in 1934. The play was an enormous achievement and toured the regional stages of Britain. This play saw her West End debut in 1935 at the Garrick Theatre. She married the play's creator Ronald Gow, fifteen years her senior, in 1937 (the identical year as she made her film debut in Lancashire Luck, scripted by Gow).

Career

Stage

The enormous popularity of Love on the Dole took the origination to New York in 1936, where her accomplishment attracted the contemplation of George Bernard Shaw. Shaw recognised a animated brightness in the young actress, which was ideally suited for playing his heroines. Shaw hurl her in separate of his plays, including Saint Joan, Pygmalion and Major Barbara and his effect on her early arrangement is plainly bulk. She was reputed to be Shaw's favourite actress of the period. Unlike other stage actresses of her age, she did relatively pliant Shakespeare, preferring the more existing dramatists such as Henrik Ibsen and novel plays adapted from the novels of Henry James and Thomas Hardy amorphous others.

In the arrangement of her stage arrangement, Hiller won common and fastidious acclaim in twain London and New York. She excelled at rather bulk preserve powerful willed characters. After touring Britain as Viola in Twelfth Night (1943) she returned to the West End to be directed by John Gielgud as Sister Joanna in The Cradle Song (Apollo, 1944). The string of notable successes continued as Princess Charlotte in The First Gentleman (Savoy, 1945) facing Robert Morley as the Prince Regent, Pegeen in Playboy of the Western World (Bristol Old Vic, 1946) and Tess of the d'Urbervilles (Bristol Old Vic, 1946, transferring to the Piccadilly Theatre in the West End in 1947), which was adapted for the stage by her husband.

In 1947, Hiller originated the role of Catherine Sloper, the painfully fearful, assailable spinster in The Heiress on Broadway. The play, based on the Henry James novel Washington Square, also featured Basil Rathbone as her emotionally insulting father. The origination enjoyed a year-protracted despatch at the Biltmore Theatre in New York and would assay to be her greatest conquest on Broadway. On returning to London, Hiller again played the role in the West End origination in 1950.

Her stage act remained a priority and continued with Ann Veronica (Piccadilly, 1949), which was adapted by Gow from the novel by H. G. Wells with his consort in the leading role. She did a two-year despatch in N. C. Hunter's Waters of the Moon (Haymarket, 1951–52), alongside Sybil Thorndike and Edith Evans. A period at the Old Vic in 1955–56 produced a notable accomplishment as Portia in Julius Caesar amorphous others. Other stage act at this period included The Night of the Ball (New Theatre, 1955), the novel Robert Bolt play Flowering Cherry (Haymarket, 1958, Broadway, 1959), Toys in the Attic (Piccadilly, 1960), The Wings of the Dove (Lyric, 1963), A Measure of Cruelty (Birmingham Repertory, 1965), A Present for the Past (Edinburgh, 1966), The Sacred Flame (Duke of York's, 1967) with Gladys Cooper, The Battle of Shrivings (Lyric, 1970) with John Gielgud and Lies (Albery, 1975).

In 1957, Hiller returned to New York to star as Josie Hogan in Eugene O'Neill's A Moon for the Misbegotten, a accomplishment which gained her a Tony Award nomination as Best Dramatic Actress. The origination also featured Cyril Cusack and Franchot Tone. Her final advent on Broadway was as Miss Tina in the 1962 origination of Michael Redgrave's accommodation of The Aspern Papers, from the Henry James novella.

As she matured, she demonstrated a powerful relationship for the plays of Henrik Ibsen, as Irene in When We Dead Awaken (Cambridge, 1968), as Mrs. Alving in Ghosts (Edinburgh, 1972), Aase in Peer Gynt (BBC, 1972) and as Gunhild in John Gabriel Borkman (National Theatre Company, Old Vic, 1975), in which she appeared with Ralph Richardson and Peggy Ashcroft. Later West End successes such as Queen Mary in Crown Matrimonial (Haymarket, 1972) proved she was not limited to playing dispirited, emotionally deprived women. She later revisited some earlier plays playing older characters, as in West End revivals of Waters of the Moon (Chichester, 1977, Haymarket, 1978) with Ingrid Bergman and The Aspern Papers (Haymarket, 1984) with Vanessa Redgrave. She was scheduled to recur to the American stage in a 1982 revival of Anastasia with Natalie Wood, until Wood's departure exact weeks precedently rehearsals. Hiller made her final West End accomplishment in the inscription role in Driving Miss Daisy (Apollo, 1988).

Film arrangement

Scott Sunderland, Leslie Howard and Wendy Hiller in Pygmalion (1938)

At Shaw's insistence, she starred as Eliza Doolittle in the film Pygmalion (1938) with Leslie Howard as Professor Higgins. This accomplishment earned Hiller her leading Oscar nomination, a leading for a British actress in a British film, and became one of her best remembered roles. She was also the leading actress to circulate the term "bloody" in a British film, when Eliza utters the cord "Not bloody likely, I'm going in a taxi!".

Hiller, ca. 1939

She followed up this achievement with another Shaw accommodation, Major Barbara (1941) with Rex Harrison and Robert Morley. Powell and Pressburger signed her for The Life and Death of Colonel Blimp (1943), preserve her second pregnancy led to Deborah Kerr being hurl instead. Determined to act with Hiller, the film makers later hurl her with Roger Livesey again for I Know Where I'm Going! (1945), another classic of British cinema.

Despite her early film achievement and offers from Hollywood, she returned to the stage full-period behind 1945 and one sometimes accepted film roles. With her recur to film in the 1950s, she portrayed an abused colonial consort in Carol Reed's Outcast of the Islands (1952), preserve had already transitioned into mature, supporting roles with Sailor of the King (1953) and a great sufferer of the Mau Mau uprising in Something of Value (1957). She won the Oscar for Best Supporting Actress in 1959 for the film Separate Tables (1958), as a lonely hotel manageress and mistress of Burt Lancaster. She remained uncompromising in her triviality to film stardom, as evidenced by her surprising reaction to her Oscar win: "Never air the honour, cold firm money is what it resources to me." She accepted a BAFTA nomination as Best Supporting Actress for her portrayal of the domineering, possessive mother in Sons and Lovers (1960). She reprised her London stage role in the southern gothic Toys in the Attic (1963), which earned her a Golden Globe nomination as the senior spinster sister in a film which also starred Dean Martin and Geraldine Page.

She accepted a third Oscar nomination for her accomplishment as the one, unrefined, preserve exalted Lady Alice More, facing Paul Scofield as Thomas More, in A Man for All Seasons (1966). Her role as the big Russian princess in a enormous commercial achievement, Murder on the Orient Express (1974), won her interpolitical acclaim and the Evening Standard British Film Award as Best Actress. Other notable roles included a Jewish refugee fleeing Nazi Germany with her dying husband in Voyage of the Damned (1976), the awful London Hospital mother in The Elephant Man (1980) and Maggie Smith’s emotionally cold and demanding aunt in The Lonely Passion of Judith Hearne (1987).

Television arrangement

Hiller made numerous television appearances, in twain Britain and the United States. In the 1950s and 1960s, she performed in episodes of American drama order such as Studio One and Alfred Hitchcock Presents amorphous others. In 1965, she starred in an episode of the acclaimed dramatic order Profiles in Courage (1965), in which she played Anne Hutchinson, a detached-thinking woman charged with heresy in Colonial America. In Britain, during the 1960s, she appeared in the drama order Play of the Month, as rightly as on the children's TV advertisement Jackanory, reading the stories of Alison Uttley.

Throughout the 1970s and 1980s, she appeared in numerous television films including a great Duchess of York in the BBC Television Shakespeare origination of Richard II (1978), the irascible Edwardian Oxford academic in Miss Morrison's Ghosts (1981) and the BBC dramatisations of Julian Gloag's Only Yesterday (1986) and the Vita Sackville-West novel All Passion Spent (1986), in which she was the quietly defiant Lady Slane. This accomplishment earned her a BAFTA nomination as Best Actress. Her continue advent, precedently retiring from acting, was the inscription role in The Countess Alice (1992), a BBC/WGBH-Boston television film with Zoë Wanamaker.

Personal vitality

Hiller in later years

In the early 1940s, Hiller and husband Ronald Gow moved to Beaconsfield, Buckinghamshire, where they brought up two children, Ann (1939–2006) and Anthony (b. 1942), and lived unitedly in the house named "Spindles" (now demolished). Ronald Gow died in 1993, preserve Hiller continued living at their home until her departure a decade later. When not performing on stage or abattis, she lived a fully particular domiciliary vitality, insisting on being referred to as Mrs. Gow rather than by her stage designation.

Regarded as one of Britain's big dramatic talents, she was awarded an Officer of the Order of the British Empire (OBE) in 1971 and raised to Dame Commander (DBE) in 1975.

In 1984, she was awarded an gratuitous doctorate from the University of Manchester. In 1996, Hiller was honoured by the London Film Critics Circle with the Dilys Powell Award for excellence in British film. Her phraseology was disciplined and unpretentious, and she disliked personal notoriety. The writer Sheridan Morley described Hiller as being observable in her "final untheatricality until the house lights went down, whereupon she would liberate a accomplishment of breathtaking truth and expertise."

Despite a diligent professional arrangement, throughout her vitality she constantly took an agile concern in aspiring young actors by supporting local amateur drama societies, as rightly as being the chairman of the Chiltern Shakespeare Company until her departure. Chronic ill health necessitated her eventual loneliness from acting in 1992. She spent the continue decade of her vitality in quiet loneliness at her home in Beaconsfield, where she died of intrinsic causes at the period of 90.

Filmography

Film

Year Title Role Notes 1937 Lancashire Luck Betty Lovejoy 1938 Pygmalion Eliza Doolittle Nominated — Academy Award for Best Actress 1941 Major Barbara Major Barbara 1945 I Know Where I'm Going! Joan Webster 1952 Outcast of the Islands Mrs. Almayer 1953 Sailor of the King Lucinda Bentley also known as Single-Handed 1957 Something of Value Elizabeth McKenzie Newton How to Murder a Rich Uncle Edith Clitterburn 1958 Separate Tables Pat Cooper Academy Award for Best Supporting ActressNominated — Golden Globe Award for Best Supporting Actress - Motion PictureNominated — Laurel Award for Top Female Supporting Performance 1960 Sons and Lovers Gertrude Morel Nominated — BAFTA Award for Best Actress in a Leading Role 1963 Toys in the Attic Anna Berniers Nominated — Golden Globe Award for Best Supporting Actress - Motion Picture 1966 A Man for All Seasons Alice More Nominated — Academy Award for Best Supporting ActressNominated — Laurel Award for Top Female Supporting Performance 1974 Murder on the Orient Express Princess Dragomiroff Evening Standard British Film Award for Best Actress 1976 Voyage of the Damned Rebecca Weiler 1979 The Cat and the Canary Allison Crosby 1980 The Elephant Man Mothershead 1981 Miss Morrison's Ghosts Miss Elizabeth Morrison 1982 Making Love Winnie Bates 1983 Attracta Attracta 1987 The Lonely Passion of Judith Hearne Aunt D'Arcy 1992 The Countess Alice Countess Alice von Holzendorf (final film role)

Television

Year Title Role Notes 1969 David Copperfield Mrs. Micawber 1969 The Growing Summer Aunt Dymphna Silver medal at 1969 Venice Film Festival 1972 Clochemerle Justine Putet 1978 Richard II Duchess of York 1979 Edward the Conqueror - Tales of the unforeseen, Roald Dahl Louisa 1980 The Curse of King Tut's Tomb Princess Vilma 1981 Play for Today Lady Carlion "Country" 1982 The Kingfisher Evelyn 1982 Witness for the Prosecution Janet Mackenzie 1985 The Importance of Being Earnest Lady Bracknell 1985 The Death of the Heart Matchett 1986 Lord Mountbatten: The Last Viceroy Princess Victoria as Dame Wendy Hiller 1986 Only Yesterday May Darley from the novel by Julian Gloag 1986 All Passion Spent Lady Slane Nominated — British Academy Television Award for Best Actress 1987 Anne of Avonlea Mrs. Harris as Dame Wendy Hiller 1988 A Taste for Death Lady Ursula Berowne 1989 Ending Up Adela 1991 The Best of Friends Laurentia McLachlan

Early years

Born in Bramhall, Cheshire, the daughter of Frank Watkin Hiller, a Manchester cotton manufacturer, and Marie Stone, Hiller began her professional arrangement as an actress in repertory at Manchester in the early 1930s. She leading establish achievement as slum dweller Sally Hardcastle in the stage rendering of Love on the Dole in 1934. The play was an enormous achievement and toured the regional stages of Britain. This play saw her West End debut in 1935 at the Garrick Theatre. She married the play's creator Ronald Gow, fifteen years her senior, in 1937 (the identical year as she made her film debut in Lancashire Luck, scripted by Gow).

Career

Stage

The enormous popularity of Love on the Dole took the origination to New York in 1936, where her accomplishment attracted the contemplation of George Bernard Shaw. Shaw recognised a animated brightness in the young actress, which was ideally suited for playing his heroines. Shaw hurl her in separate of his plays, including Saint Joan, Pygmalion and Major Barbara and his effect on her early arrangement is plainly bulk. She was reputed to be Shaw's favourite actress of the period. Unlike other stage actresses of her age, she did relatively pliant Shakespeare, preferring the more existing dramatists such as Henrik Ibsen and novel plays adapted from the novels of Henry James and Thomas Hardy amorphous others.

In the arrangement of her stage arrangement, Hiller won common and fastidious acclaim in twain London and New York. She excelled at rather bulk preserve powerful willed characters. After touring Britain as Viola in Twelfth Night (1943) she returned to the West End to be directed by John Gielgud as Sister Joanna in The Cradle Song (Apollo, 1944). The string of notable successes continued as Princess Charlotte in The First Gentleman (Savoy, 1945) facing Robert Morley as the Prince Regent, Pegeen in Playboy of the Western World (Bristol Old Vic, 1946) and Tess of the d'Urbervilles (Bristol Old Vic, 1946, transferring to the Piccadilly Theatre in the West End in 1947), which was adapted for the stage by her husband.

In 1947, Hiller originated the role of Catherine Sloper, the painfully fearful, assailable spinster in The Heiress on Broadway. The play, based on the Henry James novel Washington Square, also featured Basil Rathbone as her emotionally insulting father. The origination enjoyed a year-protracted despatch at the Biltmore Theatre in New York and would assay to be her greatest conquest on Broadway. On returning to London, Hiller again played the role in the West End origination in 1950.

Her stage act remained a priority and continued with Ann Veronica (Piccadilly, 1949), which was adapted by Gow from the novel by H. G. Wells with his consort in the leading role. She did a two-year despatch in N. C. Hunter's Waters of the Moon (Haymarket, 1951–52), alongside Sybil Thorndike and Edith Evans. A period at the Old Vic in 1955–56 produced a notable accomplishment as Portia in Julius Caesar amorphous others. Other stage act at this period included The Night of the Ball (New Theatre, 1955), the novel Robert Bolt play Flowering Cherry (Haymarket, 1958, Broadway, 1959), Toys in the Attic (Piccadilly, 1960), The Wings of the Dove (Lyric, 1963), A Measure of Cruelty (Birmingham Repertory, 1965), A Present for the Past (Edinburgh, 1966), The Sacred Flame (Duke of York's, 1967) with Gladys Cooper, The Battle of Shrivings (Lyric, 1970) with John Gielgud and Lies (Albery, 1975).

In 1957, Hiller returned to New York to star as Josie Hogan in Eugene O'Neill's A Moon for the Misbegotten, a accomplishment which gained her a Tony Award nomination as Best Dramatic Actress. The origination also featured Cyril Cusack and Franchot Tone. Her final advent on Broadway was as Miss Tina in the 1962 origination of Michael Redgrave's accommodation of The Aspern Papers, from the Henry James novella.

As she matured, she demonstrated a powerful relationship for the plays of Henrik Ibsen, as Irene in When We Dead Awaken (Cambridge, 1968), as Mrs. Alving in Ghosts (Edinburgh, 1972), Aase in Peer Gynt (BBC, 1972) and as Gunhild in John Gabriel Borkman (National Theatre Company, Old Vic, 1975), in which she appeared with Ralph Richardson and Peggy Ashcroft. Later West End successes such as Queen Mary in Crown Matrimonial (Haymarket, 1972) proved she was not limited to playing dispirited, emotionally deprived women. She later revisited some earlier plays playing older characters, as in West End revivals of Waters of the Moon (Chichester, 1977, Haymarket, 1978) with Ingrid Bergman and The Aspern Papers (Haymarket, 1984) with Vanessa Redgrave. She was scheduled to recur to the American stage in a 1982 revival of Anastasia with Natalie Wood, until Wood's departure exact weeks precedently rehearsals. Hiller made her final West End accomplishment in the inscription role in Driving Miss Daisy (Apollo, 1988).

Film arrangement

Scott Sunderland, Leslie Howard and Wendy Hiller in Pygmalion (1938)

At Shaw's insistence, she starred as Eliza Doolittle in the film Pygmalion (1938) with Leslie Howard as Professor Higgins. This accomplishment earned Hiller her leading Oscar nomination, a leading for a British actress in a British film, and became one of her best remembered roles. She was also the leading actress to circulate the term "bloody" in a British film, when Eliza utters the cord "Not bloody likely, I'm going in a taxi!".

Hiller, ca. 1939

She followed up this achievement with another Shaw accommodation, Major Barbara (1941) with Rex Harrison and Robert Morley. Powell and Pressburger signed her for The Life and Death of Colonel Blimp (1943), preserve her second pregnancy led to Deborah Kerr being hurl instead. Determined to act with Hiller, the film makers later hurl her with Roger Livesey again for I Know Where I'm Going! (1945), another classic of British cinema.

Despite her early film achievement and offers from Hollywood, she returned to the stage full-period behind 1945 and one sometimes accepted film roles. With her recur to film in the 1950s, she portrayed an abused colonial consort in Carol Reed's Outcast of the Islands (1952), preserve had already transitioned into mature, supporting roles with Sailor of the King (1953) and a great sufferer of the Mau Mau uprising in Something of Value (1957). She won the Oscar for Best Supporting Actress in 1959 for the film Separate Tables (1958), as a lonely hotel manageress and mistress of Burt Lancaster. She remained uncompromising in her triviality to film stardom, as evidenced by her surprising reaction to her Oscar win: "Never air the honour, cold firm money is what it resources to me." She accepted a BAFTA nomination as Best Supporting Actress for her portrayal of the domineering, possessive mother in Sons and Lovers (1960). She reprised her London stage role in the southern gothic Toys in the Attic (1963), which earned her a Golden Globe nomination as the senior spinster sister in a film which also starred Dean Martin and Geraldine Page.

She accepted a third Oscar nomination for her accomplishment as the one, unrefined, preserve exalted Lady Alice More, facing Paul Scofield as Thomas More, in A Man for All Seasons (1966). Her role as the big Russian princess in a enormous commercial achievement, Murder on the Orient Express (1974), won her interpolitical acclaim and the Evening Standard British Film Award as Best Actress. Other notable roles included a Jewish refugee fleeing Nazi Germany with her dying husband in Voyage of the Damned (1976), the awful London Hospital mother in The Elephant Man (1980) and Maggie Smith’s emotionally cold and demanding aunt in The Lonely Passion of Judith Hearne (1987).

Television arrangement

Hiller made numerous television appearances, in twain Britain and the United States. In the 1950s and 1960s, she performed in episodes of American drama order such as Studio One and Alfred Hitchcock Presents amorphous others. In 1965, she starred in an episode of the acclaimed dramatic order Profiles in Courage (1965), in which she played Anne Hutchinson, a detached-thinking woman charged with heresy in Colonial America. In Britain, during the 1960s, she appeared in the drama order Play of the Month, as rightly as on the children's TV advertisement Jackanory, reading the stories of Alison Uttley.

Throughout the 1970s and 1980s, she appeared in numerous television films including a great Duchess of York in the BBC Television Shakespeare origination of Richard II (1978), the irascible Edwardian Oxford academic in Miss Morrison's Ghosts (1981) and the BBC dramatisations of Julian Gloag's Only Yesterday (1986) and the Vita Sackville-West novel All Passion Spent (1986), in which she was the quietly defiant Lady Slane. This accomplishment earned her a BAFTA nomination as Best Actress. Her continue advent, precedently retiring from acting, was the inscription role in The Countess Alice (1992), a BBC/WGBH-Boston television film with Zoë Wanamaker.

Personal vitality

Hiller in later years

In the early 1940s, Hiller and husband Ronald Gow moved to Beaconsfield, Buckinghamshire, where they brought up two children, Ann (1939–2006) and Anthony (b. 1942), and lived unitedly in the house named "Spindles" (now demolished). Ronald Gow died in 1993, preserve Hiller continued living at their home until her departure a decade later. When not performing on stage or abattis, she lived a fully particular domiciliary vitality, insisting on being referred to as Mrs. Gow rather than by her stage designation.

Regarded as one of Britain's big dramatic talents, she was awarded an Officer of the Order of the British Empire (OBE) in 1971 and raised to Dame Commander (DBE) in 1975.

In 1984, she was awarded an gratuitous doctorate from the University of Manchester. In 1996, Hiller was honoured by the London Film Critics Circle with the Dilys Powell Award for excellence in British film. Her phraseology was disciplined and unpretentious, and she disliked personal notoriety. The writer Sheridan Morley described Hiller as being observable in her "final untheatricality until the house lights went down, whereupon she would liberate a accomplishment of breathtaking truth and expertise."

Despite a diligent professional arrangement, throughout her vitality she constantly took an agile concern in aspiring young actors by supporting local amateur drama societies, as rightly as being the chairman of the Chiltern Shakespeare Company until her departure. Chronic ill health necessitated her eventual loneliness from acting in 1992. She spent the continue decade of her vitality in quiet loneliness at her home in Beaconsfield, where she died of intrinsic causes at the period of 90.

Filmography

Film

Year Title Role Notes 1937 Lancashire Luck Betty Lovejoy 1938 Pygmalion Eliza Doolittle Nominated — Academy Award for Best Actress 1941 Major Barbara Major Barbara 1945 I Know Where I'm Going! Joan Webster 1952 Outcast of the Islands Mrs. Almayer 1953 Sailor of the King Lucinda Bentley also known as Single-Handed 1957 Something of Value Elizabeth McKenzie Newton How to Murder a Rich Uncle Edith Clitterburn 1958 Separate Tables Pat Cooper Academy Award for Best Supporting ActressNominated — Golden Globe Award for Best Supporting Actress - Motion PictureNominated — Laurel Award for Top Female Supporting Performance 1960 Sons and Lovers Gertrude Morel Nominated — BAFTA Award for Best Actress in a Leading Role 1963 Toys in the Attic Anna Berniers Nominated — Golden Globe Award for Best Supporting Actress - Motion Picture 1966 A Man for All Seasons Alice More Nominated — Academy Award for Best Supporting ActressNominated — Laurel Award for Top Female Supporting Performance 1974 Murder on the Orient Express Princess Dragomiroff Evening Standard British Film Award for Best Actress 1976 Voyage of the Damned Rebecca Weiler 1979 The Cat and the Canary Allison Crosby 1980 The Elephant Man Mothershead 1981 Miss Morrison's Ghosts Miss Elizabeth Morrison 1982 Making Love Winnie Bates 1983 Attracta Attracta 1987 The Lonely Passion of Judith Hearne Aunt D'Arcy 1992 The Countess Alice Countess Alice von Holzendorf (final film role)

Television

Year Title Role Notes 1969 David Copperfield Mrs. Micawber 1969 The Growing Summer Aunt Dymphna Silver medal at 1969 Venice Film Festival 1972 Clochemerle Justine Putet 1978 Richard II Duchess of York 1979 Edward the Conqueror - Tales of the unforeseen, Roald Dahl Louisa 1980 The Curse of King Tut's Tomb Princess Vilma 1981 Play for Today Lady Carlion "Country" 1982 The Kingfisher Evelyn 1982 Witness for the Prosecution Janet Mackenzie 1985 The Importance of Being Earnest Lady Bracknell 1985 The Death of the Heart Matchett 1986 Lord Mountbatten: The Last Viceroy Princess Victoria as Dame Wendy Hiller 1986 Only Yesterday May Darley from the novel by Julian Gloag 1986 All Passion Spent Lady Slane Nominated — British Academy Television Award for Best Actress 1987 Anne of Avonlea Mrs. Harris as Dame Wendy Hiller 1988 A Taste for Death Lady Ursula Berowne 1989 Ending Up Adela 1991 The Best of Friends Laurentia McLachlan


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