Privacy Policy

Privacy Policy




Legal Bases

The law on data protection, based on the General Data Protection Regulation (formerly the Data Protection Act), sets out different reasons for which an organization may collect and process your personal data, including:

  • Consent – In specific situations, we can collect and process your data with your consent. This may occur when you have ticked a box to receive communications from us on our website or consented by email. When collecting your personal data, we’ll make clear to you which data is necessary in connection with a particular service.
  • Contractual obligations – In some circumstances, we need your personal data to comply with our contractual obligations. For example, if you have asked us to provide you with updates of our services.
  • Legitimate interest – In certain situations, we require your data to pursue our legitimate interests in order to reasonably run our website and which does not materially impact your rights, freedom or interests. For example, if you are a previous contact, we may use your address details to tell you about our services that we think may interest you.

Information We Collect

  • We collect personal data when you voluntarily fill out a contact form on our website; when you engage with us on social media; when you contact us by any means to make enquiries.
  • What personal data may we collect? Your name, email addresses, telephone numbers, personal or business addresses, web site names including social media usernames if we interact through those channels.
  • Information about your use of our website like pages viewed and the resources you access.

Use of Your Information and Why ?

 To perform a service we have agreed with you.

  • To respond to your queries or complaints. We do this to provide you with best practice and to understand how we can improve our service based on your experience.
  • To protect our business from fraud and other illegal activities.
  • With your consent, we may use your personal data to keep you informed about relevant products and services, discounts, promotions and so forth.
  • With your consent, we may use your name and company name on any testimonials you provide so as to display them on the website.
  • To send you communications required by law or which are necessary to inform you about our changes to the services we provide you. For example, updates to this Privacy Policy, product recall notices, and legally required information relating to your orders. These service messages do not require prior consent when sent by email or other messaging methods.
  • To develop, test and improve the systems, services and products we provide to you.
  • To send you survey and feedback requests to help improve our services. You can opt out of receiving these requests from us at any time by contacting us.

How we protect your personal data?

We know data security matters to you, and we will treat your data with the utmost care and take appropriate steps to protect it. Our computers and mobile devices are password protected and we regularly monitor our systems for possible vulnerabilities and constantly review our security. Unfortunately, the sending of information via the internet is not totally secure and on occasion such information can be intercepted. We cannot guarantee the security of data that you choose to send us electronically, thus sending such information is entirely at your own risk.

How long will we keep your personal data?

  • Whenever we collect or process your personal data, with your consent, we will keep it for as long as is necessary to maintain contact for notification of periods of unavailability and for marketing purposes. Without your consent, your data will either be deleted completely or anonymised, for example by aggregation with other data so that it can be used in a non-identifiable way for statistical analysis and business planning.
  • Her Majesty’s Revenue and Customs (HMRC) requires us to keep records of contracts, payments and invoices for seven years. We will therefore normally hold information of any contracts for this long.

With whom and where do we share your personal data ?

  • Your personal data is not shared with any third party unless specifically agreed with you.
  • On occasion, we include links to third parties on this website. Where we provide a link it does not mean that we endorse or approve that website’s policy towards visitor privacy. You should review their Privacy Policy before sending them any personal data.
  • Unless we inform you otherwise your data will not be processed outside the UK.

What are your rights over personal data ?

You have the right to request:

  • Access to the personal data we hold about you.
  • Correction of your personal data when incorrect, out of date or incomplete.
  • Deletion of your personal data, for example when you withdraw consent, or object and we have no legitimate overriding interest, or once the purpose for which we hold the data has come to an end.
  • That we stop using your personal data for direct marketing (either through specific channels, or all channels).
  • That we stop any consent-based processing of your personal data after you withdraw that consent.

Your right to withdraw consent

  •  Whenever you have given us your consent to use your personal data, you have the right to change your mind at any time and withdraw that consent.
  • In cases where we are processing your personal data on the basis of our legitimate interest, you can ask us to stop for reasons connected to your individual situation. We must then do so unless we believe we have a legitimate overriding reason to continue processing your personal data.
  • You have the right to stop the use of your personal data for direct marketing activity through all channels, or selected channels. We must always comply with your request.

To enquire about your personal data, or to withdraw consent to use it, please contact us through this website or through the registered office of Riols Quarter Ltd. If we decide not to action your request we will explain to you the reasons for our refusal.

If you feel that your data has not been handled correctly and you are unhappy with our response to any requests you have made to us regarding the use of your personal data, you have the right to lodge a complaint with the Information Commissioner’s Office (ICO) in the UK.

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


Terms of Use

Terms of Use




You will adhere to the following Terms of Use.

  • You recognise that this site is owned by Riols Quarter Ltd. and that all content on it (unless credited otherwise) has been produced and published under our company name and is therefore copyrighted to us, including text, graphics, artworks, logos, photographs and design.
  • By entering this website you agree that you waive all claims against the Company, its officers, employees, or its suppliers of information.
  • Moreover, you waive all claims arising from your own unauthorized use of facilities provided by the Company on this site.
  • You agree not to send any communication, whether email or other message through our site which violates the rights of any other person.
  • You agree that nothing you submit to us by any means contains vilification of another party, innocent or otherwise, nor any libellous statements, abusive, obscene material, defamatory matter of any type whatsoever, nor any racist remarks or similar comments or criticisms.
  • You agree that the Company reserves its rights to vet, oversee, monitor and to moderate all the information sent in to the Company in order to satisfy any regulatory process, governmental law/request which might be at the time in force that might require disclosure.
  • You agree that your own interests are likewise protected under these Terms of Use.


All of the content of this website is protected as a collective work, except what is protected by individuals under their own particular copyright coverage. This website is provided by Riols Quarter Ltd as seen.


You may not upload, post, reproduce or distribute content that is protected by copyright, or other rights of a proprietary nature, without first obtaining permission of the copyright holder.

You may make copies of selected parts of the said content provided that the copies are made only for personal use and that you maintain any notices contained in the content, such as copyright notices, logos, or similar material.

As a user of this website, you acknowledge that its content is information, text, data, graphics, artworks, photographs, logos, button icons, and other material that are the property of Riols Quarter Ltd. These rights are protected by copyrights, trademarks, or other proprietary rights and these rights are valid in all forms. Thus the Company’s protectorial rights are reserved, giving it safety from the media and technologies at present in existence or hereinafter to be developed, or to be created.

We are not responsible…

  • or liable for damages of any kind including, but not limited to, direct/indirect, incidental, special, punitive or consequential damage, resulting from your individual use of, or your own inability to use, the website or your reliance on or use of its content, information, services or merchandise provided through this website or that result in any way from your own mistakes, omissions, interruptions, deletion of files, errors, defects, delays of transmission or operation, or any failure of performance by you. No advice/information given orally or written by this publishing company or any of its officers, employees, agents, providers, or the like, shall create a warranty.
  • for any claims – liabilities – demands – causes of action – damages – losses and expenses including, without limitation, costs arising out of or in connection with the use of this site illegally or otherwise.
  • for any material or opinions or data expressed in the links that may be, from time to time, connected to this website since the content for these said links are not under our control.


  • Advice or written information given by the Company does not constitute a legally binding warranty.
  • the Company makes no representations or warranties of any kind, expressed or implied, as to the operation of the website, its content, or other products included on this site, to the full extent permissible by applicable law.
  • the Company does not warrant that the website service will be uninterrupted, error free, or that any information, software or other material available on or accessible through the website is free of viruses, worms or other harmful components.


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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


Cat Doodles

Art Post: Cat Doodles

In the first of a series of art posts, we hope you enjoy these informal line-drawing doodles of Barbara Jackson. Here the artist explores various poses of her cat named Bumble. Depending on the length of the phone call, the artist sketched images of her cat that were variously detailed or quickly drafted with a fine pen. The accuracy and eye of this artist accomplished in the art of etching is plain to see.

(Images copyright: Barbara Jackson)

For more about Barbara Jackson

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


Barbara Jackson

Artist: Barbara Jackson

Barbara Jackson and Brandon Broll

In a series of forthcoming art posts, we have the rare honour to view the line-drawing doodles of an award winning artist. Doodles aren’t usually meant for an audience. In this case done while the artist was busy speaking on the telephone, they are a spur of the moment inspiration. Before Barbara Jackson shares her intriguing ‘telephone doodles’, let’s introduce this accomplished printmaker who has contributed her line drawings to books by Brandon Broll. 

Born in London, artist Barbara Jackson has over many years built a reputation for her remarkable and memorable etchings, and as an art teacher of Holocaust survivor victims. She has been awarded five prizes for her printmaking. Her work has appeared at the Royal Academy Summer Exhibition on several occasions, as well as at the Mall and OXO galleries  in London.

A graduate of the prestigious St Martin’s School of Art in London, Barbara Jackson chose etching as her main art form, the process of incising or etching lines in a metal printing plate after which ink is applied to form the image on a sheet of paper. It is a difficult, highly specialist process, traditionally used by artists such as Rembrandt, Goya and Picasso.

“I am a printmaker and painter who is fascinated by conveying people and architecture in a moody atmospheric manner which can tell a story,” she says. “I love to capture the play of light and tonality of an image.” Her etchings are often finished in black and white for the atmosphere that stark and subtle shades of grey and dark can create highlighting a pose, an expression, the mood of a figure.

Barbara Jackson’s Jewish heritage includes her parents fleeing Nazi Germany for London. In 2015, to honour Holocaust Memorial day and the 70th anniversary of the liberation of the concentration camps (where both her grandmother and great-aunt died), she created a special exhibition of paintings, etchings and multi-media work detailing the journey of her father from Germany to England.

Titled Dance of Life: The Story of a German Jewish Family, the exhibition not only revealed the breadth and depth of Barbara Jackson’s artistic skills beyond just printmaking, but also the source of the familiar and profound atmospheres she creates of people in contemplative moods revealing the power of light and shadow.

For more about Barbara Jackson

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


Riols Quarter

Riols Quarter

Riols Quarter is the publishing company which owns and publishes this website. The name Riols originates from a village in the south of France. It seems surprising a publishing company based in London should choose this French name. Why is this village of Riols, its history and environment, significant ?

On the surface it seems rather puzzling that a publishing company registered in London should be called Riols Quarter?  Until you consider who set it up and what Riols as a place represents to the founder, Brandon Broll. To this maverick writer, anti-apartheid activist, electrician, scientist, historian, poet, nature lover…

The ancient village of Riols, or more correctly ‘commune of Riols’ for that is the French term used, is situated in the Haut Languedoc, haut meaning high in the altitudinal sense, for this village is situated in a high valley of the Languedoc surrounded by majestic forested mountains. If Riols sounds remote, it is, yet for centuries the French people in this area have fought invaders from far and wide who have come to threaten their independence.  

Stretching back at least to the medieval Cathars, the people of these mountains have cherished something specific and powerful. Freedom. Self-esteem. Independence. Respect. That has been their message. And for this powerful message, for their maverick voices and actions towards this end, they have been persecuted. Memorials pepper these mountains attesting to their bravery and to their persecution.

Tourists visit this region for the romance and tragedy that surrounds the Cathar massacres of the 13th century. The Cathars were a Christian dualist movement whose beliefs rejected the church as part of the material world whereas they considered religion spiritual. Pope Innocent III called for the Albigensian Crusade which massacred 20,000 Cathars in the nearby city of Beziers. In the mountains near Riols, the maverick Cathars held out to the bitter end in four defensive castles clustered on rocky ridges at Lastours.

While Catharism exists in some quarters to the present day,  a courageous stand we can perhaps more easily relate to today is the bravery of people in these mountains who resisted Nazi invasion during the Second World War. Memorials to resistance fighters are commonplace in this area, including in Riols, and Riols features on ‘La Route de la Resistance Dans les Haut Cantons’, a route linking important sites of Nazi resistance.  

Day to day the villagers of Riols are quiet but friendly, living behind the sun-drenched shutters of their stone homes, enjoying regular social events in the square. The population which exceeds 700 is slowly growing, there are more than a few independent-minded mavericks here, yet few people other than the French visit Riols or know of it. Trout fishermen quietly arrive to cast their fly hooks onto the clean, slow flowing water of the Jaur river, and groups of hikers tread through passing from one mountain to another.

When Brandon Broll was looking for a bolt-hole to escape to away from the bustle of London, he chose Riols because “it reminded me of the Cape.” The Mediterranean climate, towering mountains, vineyards, and wild open spaces must have reminded him of what he had left behind in South Africa. Even though London had been his adult home for thirty years, “the subtleties of home as a child often remains the dream of home as an adult”.  Especially, if as an exile, you were forced to leave it.

Apart from its rich political history, Riols is set in the Parc Naturel Regional du Haut Languedoc. This regional nature park which includes inhabited rural villages and towns, is designated an area of outstanding beauty so as to protect the scenery and heritage. Its importance in nature conservation is recognised by the French government and protected by sustainable economic development. It is here that Brandon Broll, whose childhood embraced nature, who qualified as a botanist and zoologist at the highest level but whose career as a biologist was destroyed by politics, later chose this bolt-hole as a writer.

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


brandon broll

Brandon Broll

Author of the International Bestselling
Science Book Microcosmos.

“Astonishing. Amazing. Impressive”. Alexander Theroux, The Wall Street Journal.
“This book will amaze and fascinate you”. Louisa Harper, Waterstone’s.
 “Microcosmos explores the beauty of our world”. Chicago Sun-Times.
“Readers can marvel at this striking collection”. Nature.

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


doctor electric

Who is Doctor Electric ?

Everything you see is true...

According to the dictionary a maverick is a free spirit, an independent-minded person, a non-conformist. Brandon Broll is a maverick. The picture you see above of Doctor Electric is absolutely true. Incongruous as it sounds, Brandon Broll is a sparky with a PhD ! And that’s not all…

Brandon Broll admits that being a maverick in our world can be hard, but “why ever not ?” he challenges. “Imagine you can do anything. Try not to get boxed into one dimension. People aspire to living their life in one dimension. Isn’t life bigger than that ?”

It may be an incredible aspiration, or just the non-plussed, penetrating and passionate way he views the world, that Brandon Broll mentions Leonardo da Vinci as an example of who to aspire to be. The great Renaissance scientist, medical mind and anatomist, engineer, inventor, poet, musician, writer, artist and sculptor extraordinaire.

The extraordinary thing is that like Leonardo, Brandon has become an expert in almost everything he has put his mind to. The picture you see above of Doctor Electric (a nickname) is true. As incongruous as that sounds, you see a sparky with a PhD !  And not just one PhD… And he wasn’t a fully qualified electrician before he earned his doctorate… he became an electrician afterwards !

That doctoral gown you see is a Birkbeck College, University of London, doctorate in history. When he entered the examination room to take his viva in this doctoral degree, two full professors of history stood, shook his hand, and announced he’d passed. Without corrections needed. Both of them knew that his background was actually in science.

Yet they did not know that as a poet his biography appeared regularly in the International Who’s Who in Poetry and Poets Encyclopaedia. And if they heard he was the author of the international bestselling science book Microcosmos, he kept very quiet about giving up a successful career in medical journalism to earn his money as an electrical engineer. “People don’t like you revealing too much. So I keep quiet and get on with it.”

Brandon Broll always imagined himself as a wildlife biologist in South Africa, the place of his birth, and it wasn’t a dream, he made it a reality from a young age. Chameleons were his favourite pets. Graduating with distinction in zoology and botany from the University of Cape Town, he was fast tracked into postgraduate studies, researching the eusocial naked mole-rat.

But just as he was about to complete his doctorate in science, a disagreement between him and his supervisor got him expelled. It was at the height of apartheid and by then he was chairman of the Civil Rights League of South Africa, publishing political poetry and journalism against racism and injustice. When the apartheid army demanded he join them, he fled to London as a political refugee with a novel in hand titled The Unseen Genius. The title originates from a poem by Milton.

“I understand how Leonardo da Vinci was misunderstood,” he says. “Some of his works appeared in his own time, but much, like his scientific and philosophical notebooks and sketches, were kept private, hidden from others doubly through his mirror writing.” 

So how much do we know about the works of Brandon Broll ?  “Hah,” he laughs. “Most of it, you don’t !”  It seems as if, every time a work of his becomes public, there is an impact. Without ever publishing a book of poetry he was recognised in the international biographical encyclopaedia for world poets, but as a poet he remains unknown. Likewise, his science book Microcosmos received rave reviews in America, UK  and Europe, with the German edition published by National Geographic. Yet he got no royalties for it.

“It’s better that the true maverick goes by unseen,” he says. “Or else it can get you into trouble”.  For Brandon, his life remains largely anonymous in London. “That’s good. It helps me in my work”. He is married with two sons. He is a working electrician, among other things. Cannily, he owns a number of properties rented out. All of his direct family live in South Africa and his mother lives in a property in Cape Town he bought for her.

On the horizon, there are books he is writing, others he is planning to write, and much he has written which should be published. During the 2020 Covid-19 pandemic, Brandon released a long poem titled Still-life of a Pandemic, published through Amazon Kindle and in audiobook through Audible and iTunes. Unsurprisingly, it has garnered praise. It appears that we may be seeing many more books by Brandon Broll as he has founded the publishing company Riols Quarter Ltd.

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020


Interview: Peter Stern

Interview: Peter Stern

Peter Stern and Brandon Broll (Photo credit: A.J. Adler)

British voice-over and voice actor Peter Stern narrated the audiobook 'Still-life of a Pandemic'. With a background in music, acting and improvisation, and wide experience in voice-over (VO) projects including commercials, TV documentaries and film animated characters, Peter was the perfect fit to read this challenging poem. In north London in early July 2020, as the peak of the pandemic was subsiding (a two metre social distancing rule was in place and entry barred into others' homes), I met up with Peter in his back garden to sip coffee and chat.

  • Peter, what is your background and how did you get into voice-over and voice acting ?

While working in the IT industry as a software developer and database consultant, I enjoyed plenty of acting in my spare time as an amateur. An agent approached me after seeing me perform but at the time I was too committed to my work and frankly, too afraid to give up the steady income. However, the seed was planted. In 2001 after quitting IT, I started formal training as an actor. While training I went to a studio to record voice-overs which is often a companion career to acting. I really enjoyed the experience, decided to train more and set up a space in my flat to practise. When marriage and a child came along, I became the stay-at-home dad and VO work became the job I could do while taking care of my daughter. It grew from there.

  • Can you give us an idea of some of the voice-over work you’ve done ?

There are many different types of VO work out there and I haven’t covered all of them by any means. Most is corporate narration where an organisation needs a voice to narrate a video to describe or promote a product or service. I also record ‘explainer videos’ which are usually on a company web site. Education and e-learning is another big one, especially in the medical industry. It helps if you can pronounce medical jargon. Other work is for TV or radio commercials, voicing animated characters for film or TV, dubbing foreign languages into English, documentaries, audio guides, telephone on-hold messages, sat nav systems, museum exhibits and video game characters. A recent string to my bow was discovering I could do a decent impression of C-3PO from Star Wars. I’ve had a few jobs as him!

  • Is there any particular type of voice-over work you prefer ?

As an actor, I always prefer character work. I can get my teeth into that.

  • Can you give us some of your career highlights ? 

Things stand out for different reasons:

  • Reading my very first commercial made a big impact on me because it was my first. It was for a car dealership in Manchester.
  • My longest commute was memorable. It was the day I travelled all the way to Norway and back to spend five hours in a studio.
  • Once I spent two weeks cooped up in a voice booth being a purple weasel for an animated series.
  • Playing multiple characters for an independent animator in a comedy crime series.
  • Narrating a ten episode documentary on American National Parks for Discovery Channel.
  • Still hearing my voice at Ripley’s Museum whenever I’m at the Trocadero in London.
  • In the early stages of the Covid-19 pandemic, during lockdown in London, I asked if you would like to read Still-life of a Pandemic. What made you decide to do it ?

I don’t get to record poetry very often and certainly not of this length so it was a challenge I knew I’d enjoy.

  • A poem often is not easy to read well, especially a long poem. But you managed to pace the rhythm well, keep the rhyming structure subtle, as well as instil emotion in the right places. Was it difficult to do ?

There were several layers of difficulty in this project: conveying the intended meaning while giving myself the freedom to apply my own meaning where allowed; conveying emotion without going overboard and keeping the sizeable text fresh to hold attention. To help me, I asked you what certain sections meant to you. It’s so important to understand the intentions of the author and what was going through your mind when you wrote it. You also highlighted patterns in the writing that I hadn’t spotted. The poem is quite repetitive so it was important that it didn’t sound monotonous. I tried to make sure that no two refrains were delivered the same way and they needed to reflect the mood of the preceding stanza. I decided that lines like ‘yet still you are alive’ could be read as second person but also as first person, as if the father is talking to himself. The added complication here is that this poem is being read by someone who has already died. How do you put yourself in that position?

  • Do you think your background in music, acting and improvisation helped ?

Rhythm is certainly used. This poem has no hard rhythm all the way through but where there is one, hopefully, I was able to make it count. I didn’t want to turn this into a drama by acting the part too much but there are sections that need a little more emotion. The text needs to be delivered rather than simply read out so intonation and diction are important.

  • The scenario in the poem involves a father who catches the virus, and you see the effect on his family and the neighbourhood around him. How did you get into character ?

I think the pandemic has made all of us more aware of the people around us and our immediate neighbourhoods in particular. Many neighbourhoods have been brought closer together and ours is no different. My wife had symptoms of Covid-19 and had to isolate. This obviously had an effect on me and my daughter. You do start to think about what could happen given all the unknowns so it wasn’t difficult to recall the feelings of that time.

  • It’s obviously a poem which stirs a whole range of emotions: fear of the pandemic itself, a father contracting Covid-19, the family and healthcare workers reacting, his death, funeral and memorial. How did you deal with this ? Did you share it with your family ?

I tend to deal with this much as I would with any book. I can get emotionally involved without this spilling out into real life. My family were aware I was recording this but I didn’t share much information. My daughter in particular has some anxiety issues so discussing this with her was out of the question.

  • Lastly, Peter, how has the Covid-19 pandemic personally affected you ? With regard both to family and work ?

The way I work hasn’t changed as I work from home anyway although the work dried up a little. Our home naturally became busier and more distracting as my wife and daughter were at home with me. Being a department head at a university, my wife has been under a lot of pressure trying to deal with the structural changes necessary for staff and students alike. My daughter, of course, needs extra attention. She really misses school and struggles with motivation being stuck at home. She’s looking forward to going back to school.

For more about Peter Stern

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Published by Riols Quarter Ltd, 85 Great Portland Street,
London W1W 7LT. Company: 12673832.
Copyright © 2020