Many people remember Look-In as a comic / magazine hybrid with an emphasis on pop music features. However, when it began, the publication was somewhat different and, in my opinion, a more enjoyable comic than the one it evolved into.Look-In was launched in the first week of 1971, promoted by tv advertising and ads in the TV Times. Look-In was in fact sub-titled The Junior TVTimes and its design and format (glossy photogravure) was similar to its parent publication, although at 24 pages, the comic was significantly smaller in page count. Early issues featured photo covers, often staged exclusively for Look-In, similar to the covers of TVTimes, although this practice was later dropped in favour of illustrated covers by Arnaldo Putzu as the comic strip content was slightly increased.
Comics devoted to strips inspired by tv shows were nothing new of course, even in 1971. The 1950s/1960s had produced the first tv generation and publishers were soon capitalizing on that with titles such as TV Comic, TV Fun, and TV Century 21. What made Look-In different was that it had more of a balance of strips and features than its contemporaries. Unlike TV21 which had run items on space exploration, the features in Look-In were about television itself; the programmes, the stars, and the behind-the-scenes production. Truly a "Junior TVTimes" as the cover line promised. In a rather telling display of how society has changed, the page design and the tone of the articles in a 1971 Look-In seem more mature than those in the TV Times of today!
Running articles on tv shows in Look-In was a wise move by the publisher (Independent Television Publications Ltd). Falling sales of comics were partly being blamed on the distractions of the high quality of children's tv and early evening light entertainment at the time. It made sense to tackle this with a magazine that would capture children's interest. The editor of Look-In was Alan Fennell, who had previously edited TV Century 21 in its early, most popular, years. Apparently it was hoped that Fennell could work similar magic on a new tv title, - and he did.
Even the free gift in the first two issues of Look-In was designed to appeal to the new generation of tv savvy readers: a press-out cardboard model Magpie studio, complete with camera, boom, and presenters. (Magpie was ITV's answer to the BBC's Blue Peter.) The backdrop to the studio appeared in issue No.1's centre pages. Clearly Look-In expected its readers to be a bit more sophisticated than the ones who played with the free Thunder-Bangs or plastic whistles given in other comics.
As the comic was published by ITV, the strips and features within Look-In could only be based on ITV shows. However, this didn't present a problem as the 1970s were a prolific period for children's television and family entertainment. That said, only a third of the first issue of Look-In carried strips, although more strips were added later.
The standout strip in the early issues of Look-In was Timeslip, illustrated by Mike Noble. Mike had previously worked on TV21 and, highly regarded by Alan Fennell, the editor had invited him to work on the new publication. As expected, Noble's spectacular colour work was dynamic and exciting. Back then of course there could be no video or DVD reference sent to the artist, but when he appeared at a Bristol Comic Expo a few years ago Mike recalled how he had been invited to the studio during the recording of an episode of the ATV Timeslip drama in order to meet cast members Cheryl Burfield and Spencer Banks.
Another established artist working on Look-In from day one was Graham Allen. He had previously utilised his humour style for Odhams on strips such as The Nervs, Tuffy McGrew, and Kicks, and had develped an adventure style on Typhoon Tracy for IPC's Tiger and Jag. For Look-In he was commissioned to draw Please Sir!, a popular London Weekend sitcom starring John Alderton, and used an effective style which had just the right amount of caricature and slapstick.
Tom Kerr, another veteran artist of British comics, was the artist on Crowther in Trouble, featuring the comic actor Leslie Crowther. Kerr was another artist who could draw "darker" strips when required, but here he used his popular lighter approach. A good artist for drawing physical comedy.
Comics based on tv shows provide a good historical record of television history that might otherwise fade into the mists of time. For example, who can remember a tv series called Wreckers at Dead Eye? Not me for one, but the early issues of Look-In carried a single page serial of this relatively obscure pirate saga. Nicely illustrated, but I'm at a loss to identify the artist. Can anyone help?
Freewheelers was another well illustrated adventure strip in the early years of Look-In. Initially a two page serial drawn by Jorge Badia, who had previously illustrated romance comics for Fleetway. The strip later became an unusual mixture of text story and a few comic frames drawn by Mike Noble.
Other notable strips in the early (1971/72) issues of Look-In include....
On The Buses drawn by Harry North. The sitcom was a massive hit for itv although its humour was often too bawdy and sexist to transfer to a children's comic. Nevertheless, the strip version was fun in its own right, and North's artwork was superb.
Superflop was a comedy sketch on the Les Dawson comedy show Sez Les. Dawson portrayed a blundering British superhero and the comic strip version was drawn by Brian Lewis.
Brian Lewis was one of the rare breed of comic artists who could turn his hand to cartoony slapstick with equal accomplishment as his adventure strip material. Truly a highly talented creator. He also drew Mark Strong for Look-In, a strip based on a Mattel action figure.
Look-In had a rival in the form of Countdown, launched a few weeks after the ITV publication by Polystyle. Although the content of Countdown was more appealing to the sci-fi fan (including as it did Doctor Who and UFO) it was sadly out of its time and too 1960s and similar to the now-failing TV21.
Personally, I was an avid reader of both Look-In and Countdown, but a development would happen with the comics that would put me off both of them. In 1972, Countdown moved away from all sci-fi strips to become TV Action, including strips such as Hawaii Five-O and The Protectors. I didn't mind that so much, but what did put me off was the later inclusion of pop star pin-ups.
Look-In moved into similar territory (before TV Action) in September 1972. The first noticeable change was the paper stock. Photogravure was gone, replaced by a glossy (albeit better quality) stock for the colour pages, but a rough litho stock for the mono pages. However, the biggest change was the arrival of the "free" 4 page extra - a pullout devoted to pop stars.
Previously, Look-In was exactly the kind of tv comic/magazine I wanted, until the new look came along. It had always been aimed at boys and girls although in fairness it was probably pitched more for the male market. Now the balance appeared to be tipping the other way. The strips and tv features were still there but the magazine seemed to be dominated by that pop pull-out. I was never into the glam rock music of the day, so a cover and pull-out poster of Marc Bolan were waste of pages to my mind.
The second "bigger and better" issue was even worse. The centre pages featured a huge face shot of Donny bloody Osmond. Next issue promised "a four page extra on the fabulous David Cassidy". Look-In had always been aimed at both sexes but now it felt like it was turning into Jackie. I was 13 years old and wanted Look-In to feature pin-ups of Penny Spencer from Please Sir! or Gabrielle Drake from UFO, not some poncey posing lads with blow waves. Grumpily I dropped Look-In like a stone and probably went back to reading Valiant or something, whilst eating Marmite sandwiches, and watching Benny Hill just to really assert my Gene Hunt status.
I still bought Look-In occasionally over the years, if a Kung Fu or Blondie cover caught my eye, but never on a regular basis again. Obviously the decisions by ITV (and later IPC who took over the mag) were correct as Look-In enjoyed a long a very successful run. My reluctance to buy the mag on a regular basis meant I missed out on lots of artwork by John Burns, John Bolton and the like but Look-In was a relatively expensive comic for the few pages that appealed. The last issue I bought was in 1984 for Mike Noble's new Robin of Sherwood strip but the accompanying Bucks Fizz comic strip and Nik Kershaw pin-up made sure I didn't buy another. Although by then I was 25 so it's hardly surprising Look-In had lost its appeal.:)
Last year, a book was published collecting some of the Look-In pages. It focused too much on the late seventies for my tastes, but if you're interested it can be ordered from Amazon.
Fans of the Timeslip tv series may be interested in this website: http://www.timeslip.org.uk/
Look-In archive:
http://www.lookinarchive.com/
More Look-In archives:
http://www.geocities.com/juniortvtimes2006/
25 comments:
I didn't get into Look-in myself..the only thing I liked was Dangermouse and the cartoon features...now I'm older I like it a lot more...great finding out about telly programs of the past and seeing super comic art...will get the 80's Look-in best of book this September.
I spent the last two years recovering my LOOK-IN collection on eBay. Asbury's KUNG FU and Bolton's BIONIC WOMAN were highlights but the Michael Noble SPACE 1999 and TOMORROW PEOPLE strips were the reason I could never cancel my order at the newsagents.
Looking back, it's clear to me that their graphics department had an unlimited budget -- just about every fancy Letraset typeface in the catalog found its way into LOOK-IN for one feature or another, and Letraset sheets were Not Cheap. When I worked at Marvel UK I learned how Not Cheap they were... and people wonder why I developed a business selling comic book fonts...
R!
It was really great seeing all this - I never knew Look-in in the seventies, just in the 80s when I was growing up, but those pictures of the Timeslip folk on the Crystal Palace monsters are priceless!
When I worked with Alan Fennell in 1991/2 I asked him about Look-in and he told me he'd been trying to get it started for at least 2 years before succeeding, and that he was very pleased with the way it turned out, but it was much harder work than TV21 had been!
I recall Look-in very fondly, I still have a few of the 1971-2 issues which I'd bought mainly for Mike Noble and Harry North but that Magpie TV studio kit was a strong lure! I may have even preferred Look-in to Countdown, but they were good companion pieces.
Like you, Lew, I baled out when the pop stars became dominant but I did appreciate the odd colour pic of Ayshea Brough!
Thanks again Lew. Far too big a post to really comment on, beyond a few thoughts.
I too had the first couple of years and gradually got cheesed off with the Donny Osmond type stuff. Before I threw them all out, believing they would never be worth any money (ho-hum!) I tore out the Noble Timeslip pages and the Bolton Bionic Woman - I still have them, but imagine buying a reprint of all Noble's strips? Are you listening Steve Holland and Geoff West?
And no, I don't even remember the strip Wreckers at Dead Eye in Look-In let alone any TV programme. But QUICKLY look at eBay # 220247339507 and you'll see it's likely to be by C. L. Doughty, (who did a lot for Look & Learn) but I'm no expert.
The BUFVC's listings says the programme started on 28 Oct 1970 at 17:20 (30 mins) for 6 episodes, ending on 2 Dec 1970. And there was a second series starting on 6 Jul 1972 at 18:00 (30 mins) ending 10 Aug 1972. The cast listing means nothing to me at all:
Shadrack: Jack Allen
Tobias: Arthur Lovegrove
Jake: Harry Towb
Barnaby: Charles Morgan
Mistress Trubble: Gay Cameron
Whitey: Dennis Chinnery
Eye-Patch: Arthur White
Jon-Jo: Jack Smethurst
Quick: Johnny Briggs
Zac: Tom Owen
Caroline: Catherine Organ
Soraya: Claire Benjamin
Perhaps this helps someone out there.
Thanks again Lew
What I like about your site is that it takes me back to my youth, in the UK, when my interest in comics was possibly at its strongest. And it brings back forgotten snippets -- such as the TV jingle "Look Out for Look-in." And though I'm not really familiar with Look-in, I saw a lot of those 'hybrid' TV magazine/comics. I used to watch "Please, Sir" and "On the Buses" (My wife here in the States had seen John Alderton in "No, Honestly" but hadn't heard of "Please, Sir" until I mentioned it.
--Mike Mittelstadt
Watertown, NY
What I like about your site is that it takes me back to my youth, in the UK, when my interest in comics was possibly at its strongest. And it brings back forgotten snippets -- such as the TV jingle "Look Out for Look-in." And though I'm not really familiar with Look-in, I saw a lot of those 'hybrid' TV magazine/comics. I used to watch "Please, Sir" and "On the Buses" (My wife here in the States had seen John Alderton in "No, Honestly" but hadn't heard of "Please, Sir" until I mentioned it.
Mike Mittelstadt
Watertown NY
I missed the first issue and so only had a few bits of the Magpie Studio - a deep regret then with a solid echo even now.
I stuck with Look-In for a while and especially recall the ads for Matchbox kits that seemed very exotic with their multiple coloured pieces of plastic.
Perversely, your comments about the inclusion of non-comic elements reminded me of the opposite effect I had with Speed & Power.
I loved that magazine and only when it stared to have strips did I give up on it. Seems crazy now, but thought I was "too old" for comics".
The main artist for 'Wreckers at Dead Eye' (and later 'Redgauntlet') was C.L. Doughty - except for the last part, which was drawn by Harry North!
Thanks Shaqui. Much appreciated!
Always a delight to see such personal reminiscences of the 'glory days' of Look-in. And you are spot on Lew that the magazine did conciously shift emphasis with that Marc Bolan issue in 1972. What I *would* disagree with is your subjective and nostalgically-coloured opinion that the magazine got in some way worse from that point on.
This was always the dichotomy and the joy of Look-in as a grab-bag anthology - one of the few comics to be genuinely unisex, it had that battle on a weekly basis to try and satisfy readers of both genders. The letters pages always had readers from either side of the gender divide complaining ("Why is there not more hard rock like Deep Purple and Status Quo in Look-in instead of the soppy Bay City Rollers?").
Yes, I think Look-in did find its unique identity by 1973, precisely that mix of Jackie and TV21 it had become. But reading your boyhood memories of the mag, I am not surprised that you felt betrayed when the 'TV21' material like Timeslip was edged out slightly by pop material and you felt it wasn't for you.
I'd argue that even the music - like the letter I paraphrased above - could have its own gender divisions. Pop music was not exclusively a female preserve of (s)creaming Donny fans. Look-in ran covers and posters of 'bloke bands' like Slade, Alice Cooper, The Sweet, David Bowie (even running a page of David's make-up tips - doubtless gender bending its readership yet further) alongside the gurly fare such as The Osmonds, David Cassidy and David Essex. And there were surely fewer complaints from the boys when they ran full colour posters of 70s saucepots Olivia Newton-John, Frida and Agnetha or, as the decade progressed into New Wave and punk, Debbie Harry. Phwoarrrr!
And when it chose its picture strips Look-in remained canny - I'd argue that the likes of Follyfoot, Black Beauty and The Bionic Woman were carefully calculated to appeal to both genders, with a mix of action and sentimentality and female heroines. Clever stuff.
(One wonders if there were hordes of girls out there who never read the strips and just went straight to the posters of Flintlock or whatever? Were they greatly aggrieved by the presence of Space:1999 comic strips or was it all just grist to the mill for them and a small price to pay for glossy pop hunks?)
Like I say, I feel the need to scotch the myth that the mag was in some way poorer after 1972 even if this was the case for young L Stringer! The photo covers were replaced by the often stunning work of Arnaldo Putzu - that can't be a step down. That's a sign of the mag's quality that it had one of the finest movie poster artists in the UK at the time working for it on a weekly basis. The guy who drew the On the Buses film posters drawing On the Buses covers for Look-in!
And if you parted company in 1973 you would indeed miss art from the likes of Martin Asbury (Kung-Fu, Six Million Dollar Man), John Bolton (Bionic Woman), Arthur Ranson (Sapphire & Steel), John Burns (The Tomorrow People, Space:1999) and oodles more Mike Noble (his Black Beauty colour work is on a par with his 1960s TV21 work). Yes, it missed the talents of Kerr and Allen among a few others but it kept a fine roster of freelance talent on its books.
And above all I think it needs to be recognised that Look-in's colourful coverage of early-mid 70s pop and the glam era (and so-called subsequent 'glitterbest' period of BCR et al) in particular was definitive and unrivalled. Until Smash Hits exploded onto the scene in 1978, Look-in really had no rival to its pop coverage with the likes of Jackie, Diso 45 and the like unable to match the quality colour posters and interview access that Look-in alone could boast. From 1972 Look-in really cashed in on its allegiances with the LWT pop show Saturday Scene, running the exclusive pop interviews granted Sally James (later of TISWAS of course) within their pages - interviews not seen on TV outside of the London area. There's little doubt in my mind that by covering the pop scene of the 1970s with such style and quality Look-in became as much an iconic part of pop culture as the acts it featured in its pages.
Myself I always felt Look-in did lose something - a sign of quality, ivestment and effort expended - after it dropped the art covers during 1982 but the more consciously Smash Hits derived photo mag it evolved into was still good quality of its kind and there were still good TV strips including art from Noble, Ranson and Gordon and Maureen Gray (pinched from DC Thomson's punky upstart rival TV TOPS) the latter of whom produced some great Bucks Fizz strips, so there!
By 1985-86 I think the mag had lost some of its lustre, with the strips being sidelined somewhat and increasingly given over to honest journeymen like Phil Gascoigne and Barrie Mitchell. Having said that the sales figures remained very high in the mid 80s, so the emphasis on pop pin-ups seemed to be what the readership wanted at that time.
Still, I feel that we are in the middle of a huge growth in appreciation for British comics and among that Look-in is finally being recognised as the classic title it was (hopefully the best of book has played its part in raising its profile). I can remember 10-15 years ago dealers wouldn't deign to have such fare among their back issue stock and I well remember their derision when I used to ask for it. Oh for the days when you could buy old Look-in for 50p each or less as job lots - the secondhand collector's prices have rocketed in recent years as they have across most UK titles.
Can I just answer one more point directly? I won't disagree that there might have been too much 'late 70s' (i.e. post-1972) content for your good self in the Best of the 70s compilation but as one of two people who deliberated long and hard over the best mix of content - between male/female, strip/feature, classic/silly etc and across *all* years 1971-79 - I'd say objectively we got the mix pretty much right.
Best of the 80s is out in a month or so from Prion/Carlton - as the designer I am currently sitting on tenterhooks waiting to see the first copies back - and hopefully Graham and I can help persuade them to publish further collections in future.
In the meantime, do check out my Look-mini site if you haven't already. I've got in-depth interviews conducted in recent years with former Editor/Art Director Colin Shelbourn, strip writer the late Angus Allan and top strip artist Martin Asbury.
Keep up the great work on the blog, sir - brilliant stuff.
Thanks for a long and informative reply Alistair. I didn't actually say Look-in was poorer after 1972 though, just that I didn't enjoy it as much at that point. Nothing to do with nostalgia, - it was my 13 year old self that went off it back then. I was just recollecting my disappointment of the time, not criticizing it from a current perspective. As I said, my reluctance to continue with it meant I missed out on a lot of good material from John Burns, Mike Noble etc. My loss.
As I said, IPC obviously had the right mix as it was a huge success. Just not the type of comic that appealed to me as a teenager. I still bought it occasionally on and off but on the whole it wasn't the "Junior TVTimes" I liked when it started.
I meant to say that I thought we gave a fair crack of the whip to the early days in the Best of the 70s book. Of the stuff you mention in your piece, we did have a page of the Crowther in Trouble strip, a page of On the Buses, a page of the Magpie studio, an Ace of Wands feature and even the Crystal Palace Timeslip feature you've reproduced here - fair dos I think! :-)
Just one factual quibble - note that IPC didn't takeover Look-in until 1992, after the ITV companies who owned a part stake in TV Times sold up. IPC bought the TV Times title and got Look-in into the bargain. Far from maintaining the high circulation, under them it folded inside two years but to be fair it was probably wrong place, wrong time for them and of course the kids comics market was imploding by then.
Colin Shelbourn explains what happened in his interview at my pages:
http://www.animus-web.demon.co.uk/lookin
Hi Alistair, Thanks for that link.
Regarding your book, I do own a copy but most of it wasn't to my tastes. No slight on you and the team. The opinions in my blog are just that, - my opinions.
I was surprised you didn't run a Timeslip strip in the book, as that was Look-in's first major serial. Might have been more appropriate for a Seventies book than a 1980 Sapphire and Steel serial perhaps?
Your opinins are always a fascinating and well-informed read, Lew, so don't worry on that score - just using my right of reply in this blogtastic world.
Oh, *and* we ran a Superflop (we apologise in the 80s book that we misattributed that Lewis strip to Arthur Ranson, but I maintain he did draw some of them) ... and we ran a Please, Sir! (in colour) as well :-)
Yeah, I'd love to have run a Timeslip strip but the number of longform (i.e. 5-6 parts) strips we could run was severely limited. Had there ever been a 3-part Timeslip published I reckon it would've got in. But with a colour Noble Black Beauty in there he got his 'shout' and the TV series of BB was waaay more iconic and enduring than Timeslip in the scheme of things ... everything was considered and although we could never please everyone we deliberated over *everything* umpteen times. And we did get that colour Timeslip feature in as compensation and at least one cover in the endpaper galleries. Oh and a frame from the 'masterbrain and robots' Timeslip strip was in the intro pages, something of clue that I had been rather desperate to run one!
Oh and yes we did run a 1980 Sapphire and Steel, but the strip did start in Look-in in Autumn 1979 - again, we ran that one at 3-parts rather than run any of the much longer 1979 stories.
Alistair, what was the reason for the first part of the 'Black Beauty' strip being omitted? Pushed for space?
I'm also surprised no-one has realised it was Gerry Embleton who drew the published 'Catweazle' page... after all he drew a cover promoting the strip! (no.3, 1972)
Hi Shaqui - answer to that is that we didn't have that first ep at the time of compilation but if you read the strip with the first part missing it still makes perfect sense once you read the intro recap paragraph - after all Look-in did everything it could to hook the floating reader (the whole first page is just Jenny being thrown by Beauty!). We had the spread sort of held after that hoping we could acquire the misisng part but when I finally did it was just too late. It could still have got in but would probably have screwed up the whole production prcoess so much that it wasn't worth it. We only had maybe 4 weeks in total from my initial drawing up a list of strips to Graham;'s final selections to me scanning and cleaning up all the pages and submitting the page designs all set up, so we really had to very largely go on what issues I had at the time (which would be about 300 or so from the 70s - increased that a decent bit since).
I'm not sure how serious they were about this but in initial talks with Carlton bods, they were even suggesting we could run sample spreads and not worry about running full serials at all!
I very strongly suspected the particular Catweazle strip was Gerry Embleton, comparing it with that credited green 1972 cover, which I had, but had no hard and fast proof. And I wouldn't put the name in the book without a decent confirmation.
I even sent scans to Angus Allan, then still with us, for a steer but he had no recall who'd done it (Embleton - if it were he - wasn't someone that he really collaborated with unlike say Ranson or Asbury). Often Angus just submitted the script and the next he knew it had been drawn by someone somewhere and was in print.
At last - someone else who feels that Look-in really was the Junior TV Times in its first two years before its revamp with the pop star posters! I, too, wouldn't have minded a pin-up of Penny Spencer (sigh) rather than Donny Osmond or David Cassidy! And you're right - in its first couple of years it looked more mature and intelligent than the present-day TV Times!
Hi Alistair
Shame about the Gerry Embleton credit - you should have asked me! He confirmed the first half of the run as his work some time back.
I also have the original art of the first part of that 'Black Beauty' strip - an astonishing piece!:
http://tinyurl.com/63wa9z
Shame with the discovery of so many originals recently that a deal couldn't be done to reproduce from them...
Look-In. Wow! remember it well and I am sure was a major contributor to my becoming a comic strip artist. Its strange how only a couple of days ago I was reminiscing with my daughter about a great TV series I remembered called TIMESLIP. And then there it is, like a blast from the past ;-)
The art style seems to be something that we don't experience in British comics anymore. I (like many of my contemporaries) went the way of the US and adopted the American style of working. I must say though that Artists like Mike Noble and certainly Barry Mitchel were a huge influence on my in the early days and it only now seems to be coming out in my work. Watch out for FRONTIER to appear in The DFC sometime soon and you will see what I mean (or not).
Great blog Lew
Cheers
W!LDMAN
BTW. Did the 70's band 'Mr Big' ever feature in Look-In? my band supported them at a gig last saturday :-)It certainly has been a nostalgic week
W!LDMAN
Thanks Andrew. The Look-in topic seems to have created a lot of interest so I'll be following it up with a few more extracts from the early years soon.
Shaqui wrote:
Shame with the discovery of so many originals recently that a deal couldn't be done to reproduce from them...
Yeah, that was out of my hands sadly. We just found out IPC was about to sell up (this was in December 2006) and Graham and the then Project Editor Lorna raced round to get some cover art scanned (these appear in the intro pages of the Best of the 70s - the Space:1999 cover as you'll know has since gone up for sale with a price tag of £800!). I was stuck in Glasgow with no chance of getting to London at a day's notice, which is a shame because I would have stayed there all day and logged it before it all went out ...
The only art I have is the Battersea Power Station exploding page from Sapphire & Steel (and I paid for that, I might add).
Alistair wrote:
Editor Lorna raced round to get some cover art scanned (these appear in the intro pages of the Best of the 70s - the Space:1999 cover as you'll know has since gone up for sale with a price tag of £800!).
Yes I had a chance to see those recently, and others held by another dealer... that beautiful 'Tomorrow People' one from early 1974, 'New Avengers', 'Pathfinders'... I gather some have been bought by overseas collectors for close to a thousand pounds! But all gone now, scattered to the seven corners as they say. :-o
Silveracre on eBay have a few more too...
Great blog, I have just stumbled across it, and I am really impressed. I was really ectatic to see the first cardboard insert of the Magpie studio, you see I have scans of the middle pages of issue 1 and The second insert from issue two, you can see them on my site 'John's Look-out' at:
http://www.geocities.com/juniortvtimes2006/
where you can also read a lot of issues of Look-in, a must for any Look-in fan casual or hardened like myself!
I was shocked at the price for the Space: 1999 painting, (my particular favourite) given it's Anderson connections, I expected something a lot higher.
It's good to know that considering it was thought to have been destroyed a few years back, a lot of this art is still around.
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