About

About Us

The Lee Miller Archives is a small privately run archive which is dedicated to conserving, publishing and cataloguing the lifestyle and holding of work by Lee Miller, and the photography of her husband Roland Penrose, and to promote scholarship and the dissemination of Lee Miller & Roland Penrose's work worldwide in a manner commensurate with the artistic and humanitarian principles of the two artists.

The Lee Miller Archives supports itself entirely on the sale of rights, photographs and the opening of her home, Farleys House & Gallery to the public.

The Lee Miller Archives holding includes some 60,000 negatives, mainly black and white, most of her manuscripts, captions, notes, letters and ephemeral material, her cameras, and some of her personal effects such as her US Army uniform. It also holds approximately 3,000 photographs by Roland Penrose and photography by David E. Scherman, Man Ray, Antony Penrose and Andrew Lanyon.

Farleys House & Gallery Ltd are the managing agents for the Lee Miller Archives.

All Lee Miller photographs shown in The Lives of Lee Miller, Lee Miller's War and other books and publiciations about Lee Miller are also available from the archive. Please state the photograph's caption, page number and title of the book, when enquiring.

Fine Archival Prints for collectors printed from the original negative where possible were produced in house by Carole Callow, a photographic printer of international repute. A selection of prints may be viewed at our gallery representatives or by appointment.

The viewing of the material at the Lee Miller Archives in East Sussex, England is limited and strictly by appointment only. Searches are done by the Archives staff, who can also undertake research projects by arrangement.

Staff

Co-Director	Antony Penrose
Co-Director	Ami Bouhassane
Reproduction Rights Negotiator Assistant Reproduction Rights Negotiator	Kerry Negahban Lori Inglis Hall
Digital Librarian	Lancelot Downie
Registrar	Tracy Leeming
Print Room Administrator	Jane Parsons
Farleys House & Tours Co-ordinator	Kate Henderson
Farleys Gallery & Garden Co-ordinator	Elaine Wardekker O'Brien

Print Info

Fine prints were made in house by Carole Callow, a photographic printer of international repute. All archival quality fine prints have been individually made on high quality fibre based paper and are selenium toned for enhanced permanence. The reverse bears the Lee Miller Archives authentication stamp which is signed by Antony Penrose, a stamp certifying the print is made by Carole Callow, and the Lee Miller Copyright (c) stamp. The standard sizes of images are available on paper of the following dimensions;

Archival quality fine prints

Imperial 9 x 11.5 inches, Metric 230 x 290mm
Imperial 11 x 14 inches, Metric 280 x 355mm
Imperial 16 x 16 inches, Metric 405 x 405mm

Platinum / Palladium prints

The Platinum prints are made by Max Caffel of 31 Studio on Arches Aquarellle paper
Size - Imperial 15 x 19 inches, an edition of 30 - image sizes do vary
Each print is authenticated with the Lee Miller Archives and 31 Studio blind stamp placed within the margin.

Sold in editions of 30 with price brackets changing in blocks from 1-10, 11-20 & 21-30.

Work prints - Limited stock remaining

Originally produced for the Lee Miller Archives for reference use or to be sent out as hard copies to publishers to use in books, in the days before images could be sent digitally.

Work prints are Non-Archival handmade on Resin Coated (RC) paper, and were printed in house. These prints are, where possible, made from the original negative.

RC papers are manufactured using thin plastic layers, on each side of the paper base to prevent chemical penetration during processing, which reduces washing time. The main advantages are that prints process quickly and dry flat. All our RC Work Prints are printed on a glossy surface to render the deepest blacks and present the widest tonal range.

Imperial 8 x 10 inches, Metric 200 x 255mm

Digital prints

Digital prints are made from digital images with a wet process, printed on non-archival paper. The original image is usually sourced from the vintage print or negative.
Imperial 8 x 10 inches, Metric 200 x 255mm.

If you have seen an image that you would like but it appears unavailable we may still be able to produce it for you as a special order, contact us through our Contacts page for further information.

Please note the width of the border on all prints may vary.
All prices include VAT where applicable and delivery charges.
Discounts are available to corporate customers wishing to purchase more than 5 prints, please contact us.
Please allow 30 days for the delivery of prints, unless otherwise notified.

Reproduction Requests

Reproduction request how to:

ALL OF OUR IMAGES NEED A COPYRIGHT LICENCE

FOR ONE IMAGE

To request a copyright licence/permission to reproduce ONLY ONE IMAGE please click on the REQUEST A QUOTE button next to the image and follow the prompts.

You will be prompted to register/log in if you have not already done so.

Fill in as many of the reproduction request fields as possible. Once you have agreed the online terms and conditions and submitted the request you will receive an email within two working days quoting the relevant fees and terms and conditions.

Once agreement and payment has been received you will be sent a code to release the image to be downloaded from the website in the format required. When an image is downloaded a £55.00 GBP + VAT administration charge will apply. This fee will be deducted from the final invoice once reproduction/use has occurred.

Your copyright licence will be sent to you by post.

....................................

FOR MORE THAN ONE IMAGE

To request a copyright licence/permission to reproduce MORE THAN ONE IMAGE please use the ‘lightbox’ facility to select your image choices. Once all the images you require have been placed into the lightbox ensure that those you wish to reproduce are ticked in the bottom left corner, then click on the ‘ACTIONS’ button and select 'Start reproduction request for selected'.

You will be prompted to register/log in if you have not already done so.

Once agreement and payment has been received you will be sent a code to release the images to be downloaded from the website in format required. When an image is downloaded a £55.00 GBP + VAT administration charge will apply. This fee will be deducted from the final invoice once reproduction/use has occurred.

Your copyright licence will be sent to you by post.

Exhibition Requests

To make an exhibition request

Make a selection in your lightbox and tick those you would like to loan.

Select the exhibition request box and fill in the prompts.

We will get back to you as soon as we can with our terms & conditions of loan, availability and a quote.

Please note, exhibitions loans are subject to environmental & security conditions requirements.

FAQ

Was Lee Miller really the only woman combat photographer in WWII?

There were many women photographers and correspondents in WWII, and almost all of them were with the US forces as the British Army would not allow women reporters to be accredited. (That means have an official status and a rank that allowed them to move around with the armed forces).

The important point is that the women reporters were only allowed to report on non-combatant stories, but Lee MILLER's second assignment at the siege of St Malo found her unexpectedly covering a battle lasting four days. The US Army put her briefly under arrest afterwards for violating the terms of her accreditation. Another femaler World War II photographer we have photographs of is Margaret BOURKE WHITE, who mainly worked with the US Air Force. Lee Miller's distinction was that she mainly reported the infantry war, up close and very personal.

Did Lee Miller print all her own photographs?

Lee MILLER was an excellent photographic printer, and she learned her technique from Man RAY. She printed all her own work and some of Man RAY's in her Paris days, and to begin with in her New York studio, but she trained her assistant, her brother Erik MILLER, to take over the darkroom work under her supervision. In Egypt she used commercial processing, but it is probable that she took a firm role in supervising the making of the enlargements she had made, some of which were published and exhibited at the time. During the London Vogue studio days in 1940 she at first found herself back in the dark room, but she managed to train and encourage her assistant Roland HAUPT to the point where he did all the routine work. It was at this time she took a big interest in pioneering colour photography, and was closely involved in the early processing work. After she went to Europe with the U.S. Army all the processing and printing was done by Vogue studios except for a few occasions when she set up an improvised dark room in the field.

What is the background to Man Ray's girlfriend, Kiki de Montparnasse?

Kiki de Montparnasse was Alice Prin (1901, Châtillon-sur-Seine - 1953, Paris)

Brought up by her grandmother, she came to Paris in 1913, earning her living as a housemaid and then as a model for the artists of Montparnasse - among whom she soon became known for her outspokenness and her free-and-easy ways. She shared the life first of Foujita and then of Man RAY (posing for his photos and acting in his films). She established herself as a singer of isky songs, at the same time painting naive paintings. The preface for her first exhibition, in 1927, was written by Robert DESNOS. She published memoirs as early as 1929, even though the end of historic Montparnasse proved no interruption to her singing, or to her social and amorous life. Gradually, however, she was transformed by her drinking and her drug-taking into a caricature of what she had been: the woman whose licentious and carefree ways echoed the dreams and hopes of cosmopolitan bohemian life.
KLUVER, B. and MARTIN, J., Kiki et Montparnasse 1900-1930, Paris, 1989.

What do you think Lee Miller would have done if she had had a completely different career?

She would have made a very good doctor, and in fact when she was living in Egypt she did enrol in medical school, but it seems like having a good time got in the way of this career.

What sort of sense of humour did Lee Miller have?

Lee MILLER's humour was not of the wisecrack kind, nor was she a joke teller. Similarly she was not the kind of person who sat round and laughed at silly stories. David E. SCHERMAN always used to say she was so funny, but I did not see much of that side of her character in the years that I knew her. I recall her humour as being shown best in her responses to situations. She could assess what was going on very quickly, instantly in some cases, and come in with a crack. Usually a bit outrageous, sometimes inappropriate, but mostly very witty. Because they were such things of the moment it is hard to recall them verbatim, but she was very engaging when on form, and people found her excellent company.

She was not much of a punster (maker of puns, or a play on words) that was Roland PENROSE's domain, but she was very good with words and loved puncturing arrogant attitudes in others. In some ways her humour was quite British, a sort of mocking, often self-deprecating humour designed to subvert people or things of authority. She could be caustically funny about things like the Royal Family - imagining what they did and said to each other behind their closed doors. Few things were too sacred to mock but there were no jokes about PICASSO, you do not mock those you perceive to be Gods.

Having said she was not a joke teller, she loved practical jokes, and the cruder the better! Fake puddles of vomit, papier mâche dog excrement and all that kind of thing, which she bought for me as presents when I was at school.

I could never decide if it was humour or just perverse rebellion that made her dress the way she did. With a frilly net toilet seat cover as a hat, trash jewellery mixed with her Cartier ring or her CALDER ring or her PICASSO pendant.

I wish I had known the kind of G.I. humour that SCHERMAN recalled so affectionately. It shows in so many of the faces of the guys she photographed during that period. I think it must have been a great door opener for her, and a great maker of friends and defeater of boredom.

Do you think using the holocaust photographs is exploitative?

George SANTAYANA is credited with a saying that goes something like 'Those who ignore history are condemned to repeat it' and this alone constitutes a worthwhile moral and objective basis for war tourism. When I myself visited Dachau I found the experience overwhelming, and it brought me closer to the sufferings of those who endured life in the camps and perished there. It also remind me about the astonishing capacity man has for inhumanity to man. I was interested to see the effect the place had on others. Some were stunned to abject, mute shock. Others shrugged it off with brash bravado, and this annoyed me until I went round a corner and found a young man sitting with his chums on the kerb. He was in tears, and his friends also close to breaking down. We all react differently and take away our own experiences of these places, but at some level it goes in and stays. I hope that it leads people to an evaluation of moral issues and of the importance of fundamental values like freedom in its many forms which we tend to take for granted so easily when we have it.

The danger of war tourism is that some sites become politicized, cheapened, sensationalised, or the message within them distorted. A high degree of integrity is essential on the part of the curators. One can see much of this range in exhibits and locations around the world. The Imperial War Museum London has a devastatingly detailed and poignant holocaust exhibit, and the Imperial War Museum in Manchester is wonderfully strident in its anti-war message. Yet inevitably sometimes the armed forces museums, despite their own good intentions, end up celebrating what is seen as the glory of war. It is a fine line, one that must be treated with great discernment. No one wants to denigrate the sacrifice and commitment of the serving men and women, but these exhibits are not always seen as challenging the basic concept of why we have wars in the first place.
© Antony Penrose 2003

Do you feel war tourism distorts or cheapens the sacrifices made?

George Santayana is credited with a saying that goes something like Those who ignore history are condemned to repeat it, and this alone constitutes a worthwhile moral and objective basis for war tourism. When I myself visited Dachau I found the experience overwhelming, and it brought me closer to the sufferings of those who endured life in the camps and perished there. It also remind me about the astonishing capacity man has for inhumanity to man. I was interested to see the effect the place had on others. Some were stunned to abject, mute shock. Others shrugged it off with brash bravado, and this annoyed me until I went round a corner and found a young man sitting with his chums on the kerb. He was in tears, and his friends also close to breaking down. We all react differently and take away our own experiences of these places, but at some level it goes in and stays. I hope that it leads people to an evaluation of moral issues and of the importance of fundamental values like freedom in its many forms which we tend to take for granted so easily when we have it.

The danger of war tourism is that some sites become politicized, cheapened, sensationalized, or the message within them distorted. A high degree of integrity is essential on the part of the curators. One can see much of this range in exhibits and locations around the world. The Imperial War Museum London has a devastatingly detailed and poignant holocaust exhibit, and the Imperial War Museum in Manchester is wonderfully strident in its anti-war message. Yet inevitably sometimes the armed forces museums, despite their own good intentions, end up celebrating what is seen as the glory of war. It is a fine line, one that must be treated with great discernment. No one wants to denigrate the sacrifice and commitment of the serving men and women, but these exhibits are not always seen as challenging the basic concept of why we have wars in the first place.
© Antony Penrose 2003

How would Lee Miller feel if she could see the way her work is regarded today?

I have no doubt she would be very moved to find that so many people find her work intensely meaningful, and that after so many years she still has the capacity to delight, provoke and inform people who take an interest in her work. I think she would be surprised, and very gratified by the importance attached to her work by scholars and museum curators. And I think she would be pleased to see those she loved celebrated though her pictures of them.

Is there a story behind the Self Portrait in New York City 1932?

As far as I know the photograph was made to advertise a new material, called plastic, used for the hair band. It was clearly shot for a purpose, but it seems the photograph was not published, although that is not a definitive opinion as I have not had the chance to examine all the copies of Vogue and Vanity Fair etc that were contemporaneous with it. Lee did a lot of shoots for advertising and in-store displays, so it might have simply been used as a point of sale image.

Are you Lee Millers only child?

That's what she told me.

If you could email Lee Miller questions what would they be?

Ok, these are the questions I am prepared to share!
1. You and Roland PENROSE were in Paris at the same time in the late twenties and you had several friends in common, Man RAY, the ÉLUARDs, Max ERNST, Jean COCTEAU, how is it you did not meet each other then?
2. Why did you leave Paris in 1932?
3. When did you first meet PICASSO? Was it in 1937 at Mougins or did you know him before then?
4. What happened to your negatives from your Paris studio?
5. What happened to the rest of the negatives from your New York Studio?
6. Why did you go on into Eastern Europe in 1945? What drove you, when you could have so justifiably returned to England?
7. Why did you dump photography like a discarded lover?
8. When you were consigning your material to the series of cardboard boxes in which I found it, what was on your mind? Did part of you realise what a legacy it was and maybe it was like creating a time capsule, or was there something else?
9. If there were key defining moments in your life, what were they?
10. Would you mind reading the stuff I have written about you and telling me where I have got it wrong?

Where is Lee Miller buried?

Lee Miller was cremated and her family scattered her ashes in the garden of her home at Farley Farm, in Sussex, England.

Where did she live in the war?

For most of the war she was living with my father Roland PENROSE, in London. Then in 1944 after D Day and the Allied invasion of France (nearly 70 years ago) she crossed over to France and lived in Paris. She did not really live there all the time because she was mostly on the move following the soldiers, but that was her base. She had a room at the Hotel Scribe, which a friend of hers described as a cross between an arms dump and a pig pen because she filled it with so many guns and things she found and she was very untidy!

Where was the famous Bateau Ivre café where Lee Miller met Man Ray?

According to www.charleshobson.com/paris/ray it was on Boulevard Raspail and Man RAY's favourite bar. (now the only cafe in Paris of this name is behind the Pantheon on rue Descartes).

What publications are available on Lee Miller?

Available Books on Lee Miller or connected to Lee Miller
See if your local bookshop, college library or local library has access to one or more of the following books:
Lee Millers War - Edited by Antony Penrose ISBN 0-09-177030-0
The Lives of Lee Miller - by Antony Penrose ISBN 0-500-27509-2
Lee Miller: Portraits from a Life - Richard Calvocorressi ISBN 0-500-54260-0
The Home of the Surrealists by Antony Penrose ISBN 0-7112-1726-2
Roland Penrose - The Friendly Surrealist - by Antony Penrose
ISBN 3-7913-2492-6

What did Lee Miller's camera look like and how many did she have?

Lee used a Rolleiflex camera. It is quite a big camera, and it's called a twin lens reflex camera because it has two lenses which are the same as each other, one for the photographer to look at the view through and the other for the film to see the view. It only had 12 shots on a roll of film and as it took quite a long time to load with new film Lee carried 2 cameras so she could always have one ready. The Rolleiflex had no built in light meter, flash or auto focus, like so many modern cameras, and it had no telephoto lens to make things look closer.

Was Lee Miller wounded in the war?

As far as I know Lee was never wounded. She got a lot of bumps and bruises and a few small nicks, but nothing you could call a physical wound. However, you could say that she suffered severe emotional wounds from the things she saw and experienced, and this trauma affected her deeply long after the war was over.

Which were her most favourite war photos?

I think she liked the one of herself sitting in Hitler's bath the best. It gave her a sense of victory over an evil man.

Were they published during the war?

Not many of Lee's photos were published during the war. There was paper rationing and so there were not many magazines, but Vogue magazine, which Lee mainly worked for, did print some really nice spreads of pictures and stories. She took far more photos than could be published, for example for her story about the Siege of St Malo she took about 150 photos but there was only room for about 10 in the article.

Did she see any battles?

Yes, Lee saw a lot of battles, which was unusual for a woman reporter. In fact she was one of only two women who photographed battles in Europe during World War 2. Her first really big battle was the Siege of St Malo. It's a port in Normandy, and the battle for it lasted four days. She was the only photographer present so she had what was called a scoop. Then she was present for the Battle of the Colmar Pocket that was when the Germans were fighting with their backs to their own frontier along the Rhine during the terrible cold of the winter of 1945. That lasted about two weeks and she saw tank battles and air strikes as well as the infantry fighting. There is not much to see or photograph in a battle as there is always so much smoke, but she was very close to the fighting.

Did she talk to any soldiers?

Lee Miller frequently talked to soldiers. One of the things that distinguishes her work is that she was more interested in what ordinary people, for Lee that included the soldiers, were doing. You won't find much about generals and politicians in her work although there were a few she respected enough to photograph and write about. She was mostly concerned with the thoughts and welfare of the civilians and the soldiers, ordinary people who did extra-ordinary things. She recorded some of her meetings with soldiers, and they make some of the most moving parts of her story.

Did she see any bombs being dropped?

Yes, a great many. At the Siege of St Malo she was less than 700 metres away from the bombs, and in her notes she describes how the blast from the bombs threw her backwards off her feet and covered her in lumps of plaster and other debris. Interestingly she witnessed and photographed what is thought to be the first use of a special bomb called NAPALM, a particularly deadly kind of fire bomb. It was still on the secrets list and the censor, who was the person who was responsible for controlling the photographs in case they should give information to the enemy, grabbed them and would not allow them to be seen until after the war.

Did she travel in the war?

Yes, a lot. To be able to take pictures, she had to be where the action was happening and that meant following the soldiers who were always moving.

When she was in Europe she mostly travelled by jeep. One of her favourite jeeps was called Hussar. The Hussars were a special light cavalry, another had a special gadget on the front to cut wires that the enemy strung across the road to try and cut off the heads of the soldiers. Sometimes she had rides in planes, but not very often. She mostly liked her jeep, and at the end of the war she had a great big American Chevrolet, until she crashed it in Romania, but that's another story!

What kind of cameras did Lee Miller use?

Lee Millers favourite camera was the German made Rolleiflex, a twin lens reflex camera which used 120 gauge roll film and made 12 negatives 60 m/m (2 ¼ inches) square. It was very reliable and had excellent lenses.

It seems that she owned her first one between 1933 and 1935, as her first significant 60 x 60 m/m negatives date from her Egypt years. Rolleiflexes were very expensive and it is possible that Aziz ELOUI BEY, her husband bought it for her.

We don know the make of camera she used when she was working with Man RAY in Paris or later in her own studio but from the negatives that remain it appears they were mainly half plate and full plate cameras.

Her wartime colleague, the Life Magazine photographer, David E. SCHERMAN recalled that she used the big full plate studio cameras at Vogue with great ease and familiarity.

During the war years Lee MILLER also owned and used a 35 m/m Zeiss Contax camera with several interchangeable lenses, but she mainly used the Rolleiflex even on combat work.

In the post war years she owned a Rolleicord, and then finally in the late 1960s she bought a Honeywell Pentax which delighted her with its built in light meter and excellent coated lens.

What sort of printing techniques did Lee Miller use?

Lee Miller used the standard printing techniques of the day utilising silver gelatine paper. Her brother Erik recalled;

We always used to plunge right in, rubbing the surface of the print and blowing on it so the warmth would enhance the tone in a specific area. We had a vast array of chemicals which we used to dose up the normal proprietory solutions, and the resulting brew sometimes became quite deadly. We would cough and splutter in the fumes, and my finger nails would turn brown. Looking back on it, if there had been such a thing as safety inspectors in those days we would have been out of a job.
(Erik Miller in conversation with Antony Penrose, July 1974. Quoted in The Lives of Lee Miller by Antony Penrose, Thames and Hudson England 1985, p. 45).

What is meant by Solarisation, and did Lee Miller really discover it?

The process of Solarisation, also known as the SABATIER effect was first noted in 1862 by Armand Sabatier, a French doctor and scientist, who described it as pseudo-solarisation reversal. It was more commonly known as the Sabatier Effect, but its usage was limited to experimental production of positives from original negatives.

The effect is produced by the extreme over-exposure of the negative during a critical stage development. The shadow areas are the most affected, developing to a greater density than the original negative image. The characteristic reverse halation line that forms on boundaries between adjacent highlight and shadow areas is sometimes known as the Mackie Line. The increased concentration of bromide along these boundaries greatly retards the development process, forming a clear rim in the negative that prints as a black outline.

It is not known how familiar Man RAY was with the work of SABATIER, but we can be certain that it was Lee MILLER who discovered the effect for herself and Man RAY. Man RAY's choice of Solarisation as the name of the process suggests he knew something of SABATIER's experiments, but it was clearly not until Lee MILLER's darkroom accident that he adopted the use of the technique.

In the various interviews she did many years later, Lee MILLER claimed she was working in Man RAY's darkroom developing some negatives when a rat ran over her foot. She screamed and turned on the light. Man RAY immediately turned it off, and in an attempt to save the negative, dumped them in the fixer. To their surprise they found that a clear line surrounded the figure of the nude on the negative. The effect delighted Man RAY who then had to set about learning all he could from this lucky accident so he could replicate it at will. Lee MILLER, who worked very closely with Man RAY, also used the technique in her own work, which became a hallmark of their artistic association.

No date has ever been established for the first Man RAY / Lee MILLER solarised works, but it is safe to say it has to have been around 1929 to 1930. During this period Man RAY was doing a series of nude studies of Nusch ÉLUARD, and it is possible these are the images Lee MILLER referred to.

From the way Lee MILLER spoke and wrote about the experience of her discovery it was always easy to assume that the negatives in question were glass plates. Studying Man RAY's work from that period reveals that he used a predominance of celluloid sheet film, but the solarisation process would have worked equally well on cut sheets of celluloid film.

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6.1 You may link to Our Site provided that:

6.1.1 you do so in a fair and legal manner;

6.1.2 you do not do so in a manner that suggests any form of association, endorsement or approval on Our part where none exists;

6.1.3 you do not use any logos or trademarks displayed on Our Site without Our express written permission; and

6.1.4 you do not do so in a way that is calculated to damage Our reputation or to take unfair advantage of it.

6.2 You may not link to any page other than the homepage of Our Site, www.leemiller.co.uk. Deep-linking to other pages requires Our express written permission. Please contact Us through our contact us page for permission.

6.3 Framing or embedding of Our Site on other websites is not permitted without Our express written permission. Please contact Us for permission.

6.4 You may not link to Our Site from any other site the main content of which contains material that:

6.4.1 is sexually explicit;

6.4.2 is obscene, deliberately offensive, hateful or otherwise inflammatory;

6.4.3 promotes violence;

6.4.4 promotes or assists in any form of unlawful activity;

6.4.5 discriminates against, or is in any way defamatory of, any person, group or class of persons, race, gender, religion, nationality, disability, sexual orientation, or age;

6.4.6 is intended or is otherwise likely to threaten, harass, annoy, alarm, inconvenience, upset, or embarrass another person;

6.4.7 is calculated or is otherwise likely to deceive another person;

6.4.8 is intended or is otherwise likely to infringe (or to threaten to infringe) another person’s privacy;

6.4.9 misleadingly impersonates any person or otherwise misrepresents the identity or affiliation of a particular person in a way that is calculated to deceive (obvious parodies are not included in this definition provided that they do not fall within any of the other provisions of this sub-Clause 6.4);

6.4.10 implies any form of affiliation with Us where none exists;

6.4.11 infringes, or assists in the infringement of, the intellectual property rights (including, but not limited to, copyright, trade marks and database rights) of any other party; or

6.4.12 is made in breach of any legal duty owed to a third party including, but not limited to, contractual duties and duties of confidence.

6.5 The content restrictions in sub-Clause 6.4 do not apply to content submitted to sites by other users provided that the primary purpose of the site accords with the provisions of sub-Clause 6.4. You are not, for example, prohibited from posting links on general-purpose social networking sites merely because another user may post such content. You are, however, prohibited from posting links on websites which focus on or encourage the submission of such content from users. You are also prohibited from posting images from Our Site without our permission or a license.

7. Links to Other Sites

Links to other sites may be included on Our Site. Unless expressly stated, these sites are not under Our control. We neither assume nor accept responsibility or liability for the content of third party sites. The inclusion of a link to another site on Our Site is for information only and does not imply any endorsement of the sites themselves or of those in control of them.

8. Disclaimers

8.1 Nothing on Our Site constitutes advice on which you should rely. It is provided for general information purposes only.

8.2 Insofar as is permitted by law, We make no representation, warranty, or guarantee that Our Site will meet your requirements, that it will not infringe the rights of third parties, that it will be compatible with all software and hardware, or that it will be secure. If, as a result of Our failure to exercise reasonable care and skill, any digital content from Our Site damages your device or other digital content belonging to you, you may be entitled to certain legal remedies. For more details concerning your rights and remedies as a consumer, please contact your local Citizens Advice Bureau or Trading Standards Office.

8.3 We make reasonable efforts to ensure that the Content on Our Site is complete, accurate, and up-to-date. We do not, however, make any representations, warranties or guarantees (whether express or implied) that the Content is complete, accurate, or up-to-date. Please note that this exception does not apply to information concerning goods for sale through Our Site. Please refer to Our Terms of Sale for more information.

8.4 We are not responsible for the content or accuracy, or for any opinions, views, or values expressed in User Content. Any such opinions, views, or values are those of the relevant User and do not reflect Our opinions, views, or values in any way.

9. Our Liability

9.1 The provisions of this Clause 9 apply only to the use of Our Site and not to the sale of goods, which is governed separately by Our Terms of Sale link.

9.2 To the fullest extent permissible by law, We accept no liability to any User for any loss or damage, whether foreseeable or otherwise, in contract, tort (including negligence), for breach of statutory duty, or otherwise, arising out of or in connection with the use of (or inability to use) Our Site or the use of or reliance upon any Content (including User Content) included on Our Site.

9.3 To the fullest extent permissible by law, We exclude all representations, warranties, and guarantees (whether express or implied) that may apply to Our Site or any Content included on Our Site.

9.4 If you are a business user, We accept no liability for loss of profits, sales, business or revenue; loss of business opportunity, goodwill or reputation; loss of anticipated savings; business interruption; or for any indirect or consequential loss or damage.

9.5 We exercise all reasonable skill and care to ensure that Our Site is free from viruses and other malware. However, subject to sub-Clause 8.2, We accept no liability for any loss or damage resulting from a virus or other malware, a distributed denial of service attack, or other harmful material or event that may adversely affect your hardware, software, data or other material that occurs as a result of your use of Our Site (including the downloading of any Content from it) or any other site referred to on Our Site.

9.6 We neither assume nor accept responsibility or liability arising out of any disruption or non-availability of Our Site resulting from external causes including, but not limited to, ISP equipment failure, host equipment failure, communications network failure, natural events, acts of war, or legal restrictions and censorship.

9.7 Nothing in these Terms of Use excludes or restricts Our liability for fraud or fraudulent misrepresentation, for death or personal injury resulting from negligence, or for any other forms of liability which cannot be excluded or restricted by law. For full details of consumers’ legal rights, including those relating to digital content, please contact your local Citizens’ Advice Bureau or Trading Standards Office.

10. Viruses, Malware and Security

10.1 We exercise all reasonable skill and care to ensure that Our Site is secure and free from viruses and other malware.

10.2 You are responsible for protecting your hardware, software, data and other material from viruses, malware, and other internet security risks.

10.3 You must not deliberately introduce viruses or other malware, or any other material which is malicious or technologically harmful either to or via Our Site.

10.4 You must not attempt to gain unauthorised access to any part of Our Site, the server on which Our Site is stored, or any other server, computer, or database connected to Our Site.

10.5 You must not attack Our Site by means of a denial of service attack, a distributed denial of service attack, or by any other means.

10.6 By breaching the provisions of sub-Clauses 10.3 to 10.5, you may be committing a criminal offence under the Computer Misuse Act 1990. Any and all such breaches will be reported to the relevant law enforcement authorities and We will cooperate fully with those authorities by disclosing your identity to them. Your right to use Our Site will cease immediately in the event of such a breach.

11. Privacy and Cookies

Use of Our Site is also governed by Our Cookie and Privacy Policies, available from link to Cookie Policy and link to Privacy Statement. These policies are incorporated into these Terms of Use by this reference.

12. Changes to these Terms of Use

12.1 We may alter these Terms of Use at any time. Any such changes will become binding on you upon your first use of Our Site after the changes have been implemented. You are therefore advised to check this page from time to time.

12.2 In the event of any conflict between the current version of these Terms of Use and any previous version(s), the provisions current and in effect shall prevail unless it is expressly stated otherwise.

13. Contacting Us

13.1 To contact Us, please email Us through our contact us page .

14. Communications from Us

14.1 If We have your contact details (if, for example, you have an Account) We may from time to time send you important notices by email. Such notices may relate to matters including, but not limited to, service changes, changes to these Terms of Use, Our Terms of Sale, and changes to your Account.

14.2 We will never send you marketing emails of any kind without your express consent. If you do give such consent, you may opt out at any time. Any and all marketing emails sent by Us include an unsubscribe link If you opt out of receiving emails from us at any time, it may take up to 20 business days for Us to comply with your request. During that time, you may continue to receive emails from Us.

14.3 For questions or complaints about communications from Us (including, but not limited to marketing emails), please contact Us at or via Our contact Us

15. Data Protection

15.1 All personal information that We may use will be collected, processed, and held in accordance with the provisions of EU Regulation 2016/679 General Data Protection Regulation (“GDPR”) and your rights under the GDPR.

15.2 For complete details of Our collection, processing, storage, and retention of personal data including, but not limited to, the purpose(s) for which personal data is used, the legal basis or bases for using it, details of your rights and how to exercise them, and personal data sharing (where applicable), please refer to Our Privacy Policy and Cookie Policy.

16. Law and Jurisdiction

16.1 These Terms and Conditions, and the relationship between you and Us (whether contractual or otherwise) shall be governed by, and construed in accordance with the law ofEngland & Wales.

16.2 If you are a consumer, you will benefit from any mandatory provisions of the law in your country of residence. Nothing in Sub-Clause 18.1 above takes away or reduces your rights as a consumer to rely on those provisions.

16.3 If you are a consumer, any dispute, controversy, proceedings or claim between you and Us relating to these Terms and Conditions, or the relationship between you and Us (whether contractual or otherwise) shall be subject to the jurisdiction of the courts of England, Wales, Scotland, or Northern Ireland, as determined by your residency.

16.4 If you are a business, any disputes concerning these Terms and Conditions, the relationship between you and Us, or any matters arising therefrom or associated therewith (whether contractual or otherwise) shall be subject to the [non] exclusive jurisdiction of the courts of England & Wales.

Updating - More to follow

Farleys House & Gallery Ltd (trading as Lee Miller Archives)- Terms and Conditions of Sale

PLEASE READ THE FOLLOWING TERMS AND CONDITIONS OF SALE AND DISCLAIMERS CAREFULLY BEFORE MAKING ANY PURCHASES VIA THIS WEBSITE. ALL PURCHASES SHALL BE GOVERNED BY THESE TERMS AND CONDITIONS AND BY ORDERING GOODS ON OUR WEBSITE YOU AGREE TO BE BOUND BY THESE TERMS. PLEASE PRINT A COPY OF THESE TERMS AND CONDITIONS FOR FUTURE REFERENCE.

1. Who we are

All goods are supplied by Farleys House & Gallery Ltd, (managing agents for The Lee Miller Archives) a company which is registered in England (number 1339880). Our registered office is at Burgh Hill House, Chiddingly, East Sussex, BN8 6JF, England. All references in these terms and conditions to "us", "we", "our" or The Lee Miller Archive refers to Farleys House & Gallery Ltd and its successors and assigns.

2. When will our contract be formed?

The display of goods on our website and all communications and adverts made by us prior to the acceptance of your order after its submission by you are invitations to treat only and shall not constitute offers or unilateral contracts. Your completion and submission of an order is an offer by you to purchase the goods selected. We shall not be bound to supply such goods to you until we have notified you of our acceptance of your order and we have despatched the goods to the delivery address stated in your order. All contracts shall be deemed to be formed in England. IT IS IMPORTANT TO NOTE THEREFORE THAT WE WILL NOT BE OBLIGED TO SELL YOU GOODS IF, FOR EXAMPLE, THE GOODS ARE NOT AVAILABLE OR THEY HAVE EITHER BEEN INCORRECTLY PRICED OR DESCRIBED ON OUR WEBSITE. We also reserve the right:-

a) not to despatch goods requested if, for example, we have safety or other legal concerns, it is not possible legally or practicable for us to export the goods to your designated delivery address, or there is a limited supply of goods and we wish to ensure fairness between our customers; and

b) at any time prior to the acceptance of your order to refuse it (or any part of it), or to require further information from you in order to evaluate and/or process the order. Please note you must be at least 18 years old in order to make an order.

3. Order Processing

Unless we specify otherwise we will aim for the goods ordered by you to be delivered to you within 30 days of our accepting your order.

However, without prejudice to the statutory rights afforded to consumers under English or other applicable law, we accept no liability for any failure to despatch goods as a result of our inability to do so, or our decision not to dispatch them as permitted by these terms and conditions, provided we take all reasonable steps to tell you by e-mail within 7 days of placement of your order that the goods will not be despatched. If we do not accept or subsequently cannot, or do not, fulfil your order, we will notify you by e-mail and your payment card will be credited with the full amount of your order if previously debited by us.

4. Prices

All prices stated on our website are inclusive of value added tax where applicable, but exclude import taxes and duties payable on overseas shipments. Delivery and insurance charges are not payable in addition to the price of the goods, as notified to you on the order form, prior to you submitting your order. All our prices are in GBP (British Pounds). Your payment card will be debited in GBP and your credit card company will exchange it into your countrys currency. The exchange rate varies from day to day and your payment card company will use the relevant rate at the time of the transaction.

5. Acceptance and Returns

We will exchange or refund any goods purchased if you are not completely satisfied with them provided they are returned to Farleys House & Gallery Ltd, Farleys House, Farley Farm, Muddles Green, East Sussex, BN8 6HW, United Kingdom, in their original condition, within 10 days of receipt and with the original dispatch document. Unless you inspect the goods promptly after delivery and notify us at Farleys House & Gallery Ltd, Farleys House, Farley Farm, Muddles Green, East Sussex, BN8 6HW, United Kingdom, or on +44 1825 872 691 or at archives@leemiller.co.uk of any defects in them, the goods shall be deemed to have been accepted by you on delivery. Where goods are returned which are based upon a defect in the quality or condition of the goods or their failure to meet any description or specification given on our website, we shall be entitled to replace the goods free of charge or, at our sole discretion, refund to you the price of the goods by crediting your credit or charge card, but we shall not have further liability to you.

6. Payment

We accept payment by Visa, Mastercard, Solo, JCB, Switch, Visa Delta, or American Express only.

We will debit payment for the goods after confirmation of our acceptance of your order. We will take reasonable care to keep your order secure but in absence of our negligence or the negligence of our agents or sub-contractors we cannot be held liable for any loss you may suffer if a third party obtains unauthorised access to any data, including credit card and account details, you provide when accessing, or ordering from, our website.

7. Passing of risk and ownership

Risk in the goods passes on delivery to the address stated in your order. Title to the goods will pass to you when full payment is made for them and we shall be entitled at any time before title passes without any liability:

(a) to terminate your right to use, sell or otherwise deal in the goods;

(b) to enter your home or premises and re-possess the goods; and

8. OUR LIABILITY

YOUR ATTENTION IS SPECIFICALLY DRAWN TO THE PROVISIONS OF THIS CLAUSE. To the extent permitted by applicable law:-

(a) in no event shall we be liable either in contract, tort, negligence, statutory duty or otherwise for any loss of profits, revenue, goodwill or any type of consequential loss, indirect, special, exemplary or punitive loss or damage whatever arising from or in any way connected with the use, inability to use, or performance of, our Site or the purchase of any goods from us, even if we have been specifically advised of the possibility of such loss or damage; and

(b) except for those expressly set out in these terms and conditions, there are no warranties, terms or conditions, express or implied, statutory or otherwise (including, but not limited, as to the fitness for a particular purpose) given, made or incorporated into these terms and conditions and all such terms, conditions and warranties are excluded to the maximum extent permitted by law.

We shall not, in any event, be liable to you for any breach of these terms and conditions as a result or our delay or failure to perform if the delay or failure is due to a cause beyond our reasonable control. We do not exclude or limit our liability for personal injury or death where and to the extent that they arise from our negligence or that of our employees or agents.

Except in relation to such liability as has been expressly excluded in the preceding paragraphs, our maximum aggregate liability in contract, tort, negligence, statutory duty or otherwise for any and all losses or damages whatever arising from or in any way connected with any purchase of any goods from our website shall be five times the price paid for the good; or in any other case £1,000. This limit shall also apply if any exclusion or other provision contained in these terms and conditions is held to be invalid for any reason and we become liable for loss or damage that could otherwise have been limited. Nothing in these terms and conditions shall affect any statutory rights of any consumer under English or other applicable law.

9. Intellectual Property concerning the goods

By purchasing goods, you only acquire rights of ownership to the physical goods. You do not acquire any right, title, or interest in or to any copyright or other intellectual property rights subsisting in the work itself, which rights are exclusively reserved by the owner of the underlying copyright or other intellectual property rights. In particular, but without limitation, you must not copy, reproduce, modify, adapt, exhibit, display, broadcast, transmit, digitise, electronically or digitally frame, scan or distribute by any means now known or invented in future any goods purchased by you.

10. Miscellaneous

Goods supplied are subject to these terms and conditions of sale to the exclusion of any other terms or conditions of the purchaser. It is your responsibility to comply with the laws of your country of residence or the country where you wish the goods to be delivered with regard to your use of our website and the export to such countries of goods ordered from our website.

The failure by us to enforce any term of right arising from any contract between us or these terms and conditions shall not be deemed to be a waiver of the right to enforce such terms or right in the future. You are also referred to our general terms and conditions of use and data protection and privacy statement, which contain other terms and conditions applicable to your use of our website. We reserve the right to change these terms and conditions from time to time and without giving any notice to you. Before you make future orders, you are therefore recommended to check these terms and conditions, since you will be bound by those applicable at the time your order is submitted. If any provision of these terms and conditions is held by any competent authority to be invalid or unenforceable in whole or in part, the validity of the other provisions of these terms and conditions shall not be affected.

11. Law and Jurisdiction

These terms and conditions and all contracts entered into between Farleys House & Gallery Ltd and customer shall be governed by and construed in accordance with English law. Any disputes concerning these terms and conditions or otherwise arising in relation to any contract entered into via our website shall be subject to the exclusive jurisdiction of the English Law.

Privacy Statement

Farleys House & Gallery Ltd (trading as the Lee Miller Archives) understands that your privacy is important to you and that you care about how your personal data is used and shared online. We respect and value the privacy of everyone who visits this website www.farleyshouseandgallery.co.uk (“Our Site”) and will only collect and use personal data in ways that are described here, and in a manner that is consistent with Our obligations and your rights under the law.

Please read this Privacy Policy carefully and ensure that you understand it. Your acceptance of Our Privacy Policy is deemed to occur upon your first use of Our Site. If you do not accept and agree with this Privacy Policy, you must stop using Our Site immediately.

1. Definitions and Interpretation
In this Policy the following terms shall have the following meanings:

“Account” means an account required to access and/or use certain areas and features of Our Site;

“Cookie” means a small text file placed on your computer or device by Our Site when you visit certain parts of Our Site and/or when you use certain features of Our Site. Details of the Cookies used by Our Site are set out in section 13, below;

“Cookie Law” means the relevant parts of the Privacy and Electronic Communications (EC Directive) Regulations 2003;

“Personal Data” is defined by the General Data Protection Regulation (EU Regulation 2016/679) (the “GDPR”) and the Data Protection Act 2018 (collectively, “the Data Protection Legislation”) as ‘any information relating to an identifiable person who can be directly or indirectly identified in particular by reference to an identifier’. Personal data is, in simpler terms, any information about you that enables you to be identified. Personal data covers obvious information such as your name and contact details, but it also covers less obvious information such as identification numbers, electronic location data, and other online identifiers.

“We/Us/Our” Means Farleys House & Gallery Ltd, managing agents for Farleys House, Gallery & Garden, the Lee Miller Archives, Roland Penrose Estate and The Penrose Collection. A company registered in England under No.1339880 whose registered address is Burgh Hill House, Chiddingly, Nr. Lewes, East Sussex BN8 6JF and main address of business trading is: Farleys House, Farley Farm, Muddles Green, Nr. Lewes, East Sussex BN8 6HW

2. Information About Us
2.1 Our Site, www.leemiller.co.uk is owned and operated by Farleys House & Gallery Ltd a limited company registered in England under 1339880, whose registered address whose registered address is Burgh Hill House, Chiddingly, Nr.Lewes, East Sussex BN8 6JF and main address of business trading is: Farleys House, Farley Farm, Muddles Green, Nr. Lewes, East Sussex BN8 6HW. Our VAT number is GB 315507969.
2.2 We are regulated by Information Comissioner’s Office ‘ico’ and monitored by Security Metrics
2.3 Our Data Protection Officer is Ami Bouhassane, and can be contacted by by post at Farleys House, Farley Farm, Muddles Green, Nr. Lewes, East Sussex BN8 6HW.

3. What Does This Policy Cover?
This Privacy Policy applies only to your use of Our Site. Our Site may contain links to other websites. Please note that We have no control over how your data is collected, stored, or used by other websites and We advise you to check the privacy policies of any such websites before providing any data to them.

4. What Data Do We Collect?
Depending upon your use of Our Site, We may collect some or all of the following personal and non-personal data (please also see section 13 on Our use of Cookies and similar technologies and Our Cookie Policy.
4.1 Name
4.2 Gender
4.3 contact information such as email addresses and telephone numbers;
4.4 demographic information such as post code, preferences and interests;
4.5 financial information such as credit / debit card numbers;
4.6 IP address;
4.7 web browser type and version;
4.8 operating system;
4.9 a list of URLs starting with a referring site, your activity on Our Site, and the site you exit to;

5. How Do We Use Your Data?
5.1 All personal data is processed and stored securely, for no longer than is necessary in light of the reason(s) for which it was first collected. We will comply with Our obligations and safeguard your rights under the Data Protection Act 1998 or GDPR at all times. For more details on security see section 7, below.
5.2 Our use of your personal data will always have a lawful basis, either because it is necessary for Our performance of a contract with you, because you have consented to Our use of your personal data (e.g. by subscribing to emails), or because it is in Our legitimate interests. Specifically, We may use your data for the following purposes:
5.2.1 Providing and managing your access to Our Site;
5.2.2 Supplying Our products and services to you (please note that We require your personal data in order to enter into a contract with you);
5.2.3 Personalising and tailoring Our products and services for you;
5.2.4 Replying to emails from you;
5.2.5 Supplying you with emails that you have opted into (you may unsubscribe or opt-out at any time by selecting opt out at the bottom of the email.
5.2.6 Analysing your use of Our Site and gathering feedback to enable Us to continually improve Our Site and your user experience;
5.2.7 Tracking the location from where people have travelled from when coming to Farleys House & Gallery.
5.3 With your permission and/or where permitted by law, We may also use your data for marketing purposes which may include contacting you by email with information, news and offers on Our products and services. We will not, however, send you any unsolicited marketing or spam and will take all reasonable steps to ensure that We fully protect your rights and comply with Our obligations under the Data Protection Act 1998 or GDPR and the Privacy and Electronic Communications (EC Directive) Regulations 2003.
5.4 You have the right to withdraw your consent to Us using your personal data at any time, and to request that We delete it.
5.5 We do not keep your personal data for any longer than is necessary in light of the reason(s) for which it was first collected. Data will therefore be retained for the following periods (or its retention will be determined on the following bases):
5.5.1 Mailing list data that you opt into will be retained for 5 years.
5.5.2 Anonymous data will be retained for only as long as it is necessary.
5.5.3 If connected to a sale the invoice information on the order required by HMRC for our accounts will be retained for 7 years in order to comply with tax & business audit regulations.

6. How and Where Do We Store Your Data?
6.1 We only keep your personal data for as long as We need to in order to use it as described above in section 6, and/or for as long as We have your permission to keep it.
6.2 Your data will only be stored in the UK and America.
6.3 Data security is very important to Us, and to protect your data We have taken suitable measures to safeguard and secure data collected through Our Site.
6.4 Steps We take to secure and protect your data include:
6.4.1 Password and malware protection.

7. Do We Share Your Data?
7.1 We may share your data with the entities managed by us (Lee Miller Archives, The Penrose Collection, Farleys House & Gallery). This includes Our subsidiaries.
7.2 We may sometimes contract with third parties to supply products and services to you on Our behalf. These may include payment processing, delivery of goods, search engine facilities, advertising, and marketing. In some cases, the third parties may require access to some or all of your data. Where any of your data is required for such a purpose we will take all reasonable steps to ensure that your data will be handled safely, securely, and in accordance with your rights, Our obligations, and the obligations of the third party under the law.
7.3 We may compile statistics about the use of Our Site including data on traffic, usage patterns, user numbers, sales, and other information. All such data will be anonymised and will not include any personally identifying data, or any anonymised data that can be combined with other data and used to identify you. We may from time to time share such data with third parties such as prospective investors, affiliates, partners, and advertisers. Data will only be shared and used within the bounds of the law.
7.4 In certain circumstances, We may be legally required to share certain data held by Us, which may include your personal data, for example, where We are involved in legal proceedings, where We are complying with legal requirements, a court order, or a governmental authority.

8. What Happens If Our Business Changes Hands?
8.1 We may, from time to time, expand or reduce Our business and this may involve the sale and/or the transfer of control of all or part of Our business. Any personal data that you have provided will, where it is relevant to any part of Our business that is being transferred, be transferred along with that part and the new owner or newly controlling party will, under the terms of this Privacy Policy, be permitted to use that data only for the same purposes for which it was originally collected by Us.
8.2 In the event that any of your data is to be transferred in such a manner, you will be contacted in advance and informed of the changes. When contacted you will, be given the choice to have your data deleted or withheld from the new owner or controller.

9. How Can You Control Your Data?
9.1 In addition to your rights under the GDPR, set out in section 4, when you submit personal data via Our Site, you may be given options to restrict Our use of your data. In particular, We aim to give you strong controls on Our use of your data for direct marketing purposes such as the ability to opt-out of receiving emails from Us which you may do by unsubscribing using the links provided in Our emails and at the point of providing your details.
9.2 You may also wish to sign up to one or more of the preference services operating in the UK: The Telephone Preference Service (“the TPS”), the Corporate Telephone Preference Service (“the CTPS”), and the Mailing Preference Service (“the MPS”). These may help to prevent you receiving unsolicited marketing. Please note, however, that these services will not prevent you from receiving marketing communications that you have consented to receiving.

10. Your Right to Withhold Information
10.1 You may access certain areas of Our Site without providing any data at all. However, to use all features and functions available on Our Site you may be required to submit or allow for the collection of certain data.
You may restrict Our use of Cookies. For more information, see section our cookie policy <<insert cookie policy link>>

11. How Can You Access Your Data?
You have the right to ask for a copy of any of your personal data held by Us (where such data is held). Under the GDPR, no fee is payable and We will provide any and all information in response to your request free of charge. Please contact us for more details, or using the contact details below in section 13.

12. Our Use of Cookies
Our Site may place and access certain first party Cookies on your computer or device. First party Cookies are those placed directly by Us and are used only by Us. We use Cookies to facilitate and improve your experience of Our Site and to provide and improve Our products and services. In addition, Our Site uses analytics services provided by Google Analytics, which also use Cookies. Website analytics refers to a set of tools used to collect and analyse usage statistics, enabling Us to better understand how people use Our Site. For more details, please refer to Our Cookie Policy.

13. Contacting Us
If you have any questions about Our Site or this Privacy Policy, please contact Us by telephone on 01825 872 691, or by post at Farleys House & Gallery Ltd, Farleys House, Farley Farm, Muddles Green, Nr. Lewes, East Sussex BN8 6HW. Please ensure that your query is clear, particularly if it is a request for information about the data We hold about you (as under section 11, above).

14. Changes to Our Privacy Policy
We may change this Privacy Policy from time to time (for example, if the law changes). Any changes will be immediately posted on Our Site and you will be deemed to have accepted the terms of the Privacy Policy on your first use of Our Site following the alterations. We recommend that you check this page regularly to keep up-to-date.