About Us


The Lee Miller Archives is a small privately run archive which is dedicated to conserving and publishing the work of Lee MILLER. It supports itself entirely on the sale of rights and photographs produced from the original negatives printed by Carole CALLOW . Penrose Film Productions Ltd are the managing agents for the Lee Miller Archives.

All Lee Miller's work is copyright (c) Lee Miller Archives, and may not be reproduced in any way, stored in a retrieval system or copied without prior consent.

The archive 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.

Fine Prints and exhibition prints are made in house by Carole CALLOW, a photographic printer of international repute.

All Lee Miller photographs shown in 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.

A selection of prints may be viewed at our dealers galleries in London and New York.

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
Curator and photographic fine printer Carole Callow
Co-Director, Trustee & Registrar Ami Bouhassane
Digital librarian Lance Downie
Reproduction Rights Negotiator Kerry Negahban
Assistant picture librarian and Reproduction Rights Negotiator Sarah French
Exhibitions Assistant Tracy Leeming
   

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 £50.00 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. 

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 images to be downloaded from the website in format required. When an image is downloaded a £50.00 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.

 

Exhibiton Requests


Exhibition request how to:
 
 
Make a selection in your lightbox and tick those you would like to loan. Then 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


General Questions

Questions from Under 11s

Technical Questions



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

There were many women photographers and correspondent 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. The only other woman war photographer that we know actually photographed combat was 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.



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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.


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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.



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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.


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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.

© Antony Penrose 2000



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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


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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



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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.


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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.


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Are you Lee Millers only child?

That's what she told me.


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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?

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Where is Lee Miller buried?

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


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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!


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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).


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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



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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.


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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.


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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.


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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.


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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.


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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.


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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.


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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!



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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.



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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).



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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.

© Antony Penrose 2002


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The display of goods on our web site 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 WEB SITE. 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 despatch 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 web site 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 Penrose Film Productions Ltd. at Farley Farm House, Chiddingly, East Sussex, BN8 6HW, United Kingdom, in their original condition, within 10 days of receipt, with the original despatch document. Unless you inspect the goods promptly after delivery and notify us at Penrose Film Productions Ltd., Farley Farm House, Chiddingly, 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 web site, 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 web site.

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

(c) to use or sell the goods.

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 of 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 web site 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 web site.

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 date protection and privacy statement, which contain other terms and conditions applicable to your use of our web site. 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 Penrose Film Productions 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.

© Penrose Film Productions Ltd.

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