Miller rarely talked about the war in the years that followed – Penrose describes how she spent them “in a misery of depression and alcohol abuse” – but she gave evocative accounts in her reports for Vogue.

“The ward was like a jungle of banyan trees. A maze of hanging rubber tubes swaying in khaki shadow – one to the nostril and one to the wound of each man.” Miller’s description of an evacuation hospital near Omaha beach in Normandy was published in the fashion magazine in August 1944. Her story, Unarmed Warriors, was Miller’s first as a war correspondent accredited by the US Forces.

“The authorities had figured that ‘hospital’ meant lots of nurses so Lee would feel at home and Vogue’s sensibilities would not be offended. They were wrong on both counts,” writes David E Scherman in the foreword to Lee Miller’s War. Instead, she “was happiest with GIs, wounded or otherwise … and Vogue printed, and continued to print until the end of the war, whatever martial violence or gore that Lee turned up.”

A photographer for Life magazine, Scherman became Miller’s mentor, and the pair gained a reputation for being the first on the scene. With soldiers of the 45th division, in April 1945 they discovered Hitler’s Munich apartment – where Scherman captured the iconic bathtub shot. “Lee took a leisurely, overdue bath in Hitler’s tub while an angry lieutenant of the 45th, soap in hand, beat on the locked door outside.” They also accompanied the first Allied troops to see Hitler’s Alpine retreat in Berchtesgaden.

According to Penrose, the bathroom portrait was a loaded image. He told The Telegraph: “I think she was sticking two fingers up at Hitler. On the floor are her boots, covered with the filth of Dachau, which she has trodden all over Hitler’s bathroom floor. She is saying she is the victor.”