King Muskar’s Packard – Model Car – 29928 – La Packard De Muskar XII – 1/24 Scale

Author: Hergé & Editions Moulinsart
Price: £95.00
Manufacturer: Editions Moulinsart
Format: Original pictorial wrappers with car on plinth in perspex case
Condition: New. In excellent condition. Model car and book are both unopened

Description:

Size: 20.5cm x 7cm x 7cm. From ‘King Ottokar’s Sceptre’. Material: Painted metal with resin and plastic. Comes in a perspex case in an outer box with accompanying brochure in French and English. Brand new. Mint condition. UPC: 29928

The Packard Twelve: A Brief Account

The Packard Twelve—often referred to simply as the Packard V12—was one of the most prestigious and technically accomplished luxury motor cars of the interwar period. Produced by the Packard Motor Car Company of Detroit, Michigan, between 1933 and 1939, it represented the pinnacle of American automotive refinement before the Second World War. Renowned for its exceptional engineering, craftsmanship, and understated elegance, the Packard Twelve remains a defining example of classic luxury motoring.

At its heart was a 7.3 to 7.8-litre V12 engine, depending on model year, developed in-house by Packard’s engineers. The engine delivered between 160 and 180 horsepower, providing effortless acceleration and an uncanny smoothness that set it apart from contemporary rivals. Each cylinder bank was meticulously balanced, and the engine’s power delivery was almost silent—a technical triumph at a time when multi-cylinder refinement was considered the hallmark of mechanical excellence. Mated to a three-speed synchromesh gearbox and rear-wheel drive, the Packard Twelve offered a serene yet commanding driving experience, equally suited to long touring or chauffeured service.

Mechanically, the Twelve featured independent front suspension (introduced in 1937), a sturdy steel chassis, and advanced hydraulic brakes, giving it a blend of comfort, stability, and control that rivalled the best European marques such as Rolls-Royce and Hispano-Suiza. Its ride quality was often described as “float-like”, thanks to the deep suspension travel and careful weight distribution achieved by Packard’s engineers.

Visually, the Packard Twelve exuded quiet sophistication rather than ostentation. The bodywork, built either in-house or by specialist coachbuilders such as LeBaron, Dietrich, and Rollston, displayed the clean, flowing lines typical of 1930s American Streamline Moderne design. Hallmarks included the prominent chromed radiator grille, dual side-mounted spare wheels, sweeping front wings, and an elegantly tapered rear profile. Long wheelbases—typically 139 to 147 inches (3.5 to 3.7 metres)—allowed for grand proportions, particularly in the Touring Limousine, Convertible Sedan, and Formal Sedan variants.

The interior appointments matched its mechanical excellence. Owners could specify Connolly or fine American leather upholstery, rich burled walnut veneers, and an array of luxury fittings such as adjustable rear footrests, silk curtains, and electric clocks. The driving position was commanding yet ergonomically simple, reflecting Packard’s ethos of “luxury without excess.” Each car was effectively hand-finished, and the brand’s motto—“Ask the man who owns one”—captured both its exclusivity and reputation for owner satisfaction.

The Packard Twelve’s clientele included industrialists, diplomats, and heads of state. It became a symbol of restrained authority, its presence on the road suggesting wealth and discernment rather than flamboyance. During the 1930s, it was often chosen as an official vehicle for dignitaries and monarchs, including its fictional appearance as the royal car of King Muskar XII in Hergé’s King Ottokar’s Sceptre. Such cultural associations reinforced its image as a car fit for leadership and ceremony.

Production of the Packard Twelve ended in 1939, as economic pressures, changing tastes, and the approach of war made large, bespoke luxury cars increasingly unviable. After the war, Packard focused on smaller, more commercially viable models, but the Twelve remains widely regarded as the company’s technical and aesthetic zenith.

Today, the Packard Twelve is celebrated as one of the finest American automobiles ever built, admired for its quiet dignity, engineering sophistication, and timeless beauty. Well-preserved examples are centrepieces of concours events and private collections, embodying a lost era of craftsmanship when luxury was defined not by ornament but by perfection of detail.

King Ottokar’s Sceptre: A Brief Account

King Ottokar’s Sceptre (Le Sceptre d’Ottokar) is one of the classic albums in The Adventures of Tintin series, written and illustrated by Hergé (Georges Remi). First published in serial form between 1938 and 1939, it stands as a landmark in Hergé’s development both as a storyteller and as a political observer. Combining adventure, satire, and subtle geopolitical commentary, it reflects the tensions of pre-war Europe through the lens of Tintin’s investigative exploits.

The story opens with Tintin becoming entangled in a conspiracy surrounding the Balkan-style kingdom of Syldavia, a fictional Eastern European monarchy created by Hergé to mirror the political fragility of the era. The plot centres on an attempt to overthrow Syldavia’s ruler, King Muskar XII, by stealing the royal sceptre belonging to his ancestor, King Ottokar IV. According to national tradition, the king must appear in public with the sceptre on St Vladimir’s Day; failure to do so would be interpreted as a forfeiture of the throne. This narrative device gives the story a sense of urgency while rooting it in a believable constitutional myth.

Stylistically, King Ottokar’s Sceptre represents one of the finest examples of Hergé’s ligne claire technique—clean, precise lines, balanced composition, and clear storytelling. The artwork reflects his painstaking research: Syldavia’s landscapes are inspired by the Balkans and Central Europe, its architecture combining baroque palaces, medieval fortresses, and Alpine villages. Even its language—complete with signs and documents written in a mock-Slavic tongue—demonstrates Hergé’s gift for constructing coherent fictional worlds. The accompanying map of Syldavia, drawn in meticulous cartographic style, reinforces this realism and adds depth to the reader’s immersion.

Thematically, the album explores nationalism, loyalty, and the threat of fascist expansion. The neighbouring country of Borduria, depicted with militaristic insignia and authoritarian overtones, serves as a clear allusion to Nazi Germany. Its agents attempt to destabilise Syldavia through propaganda and espionage, echoing real-world events in Europe at the time. Tintin’s investigation, beginning with a chance discovery of a lost briefcase, leads him through layers of intrigue involving counterfeit documents, stolen uniforms, and coded communications—all culminating in his daring retrieval of the royal sceptre and the prevention of a coup.

Within this framework, Tintin’s role as a moral and intellectual hero is fully realised. He acts not through brute force but through observation, logic, and courage—qualities that contrast sharply with the cynicism and deceit of those plotting against Syldavia. The story also introduces several enduring elements of the Tintin universe, including the loyal presence of Snowy and the comic relief provided by the bumbling detectives Thomson and Thompson, whose linguistic blunders and misplaced confidence offset the story’s darker undertones.

In artistic and cultural terms, King Ottokar’s Sceptre marks a decisive step towards the modern, mature Tintin. It bridges the gap between light-hearted adventure and serious political allegory, establishing Hergé as not merely a children’s storyteller but a chronicler of European anxieties on the eve of war. Its carefully balanced tone—patriotic yet humane, humorous yet suspenseful—has ensured its lasting reputation as one of the finest entries in the Tintin canon.

Today, King Ottokar’s Sceptre endures as both an engaging adventure narrative and a subtle reflection on the values of courage, democracy, and moral integrity in times of political turmoil. Through its precise artwork and layered storytelling, it exemplifies Hergé’s commitment to clarity, authenticity, and timeless relevance.

Why Buy from Us?

At Hornseys, we are committed to offering items that meet the highest standards of quality and authenticity. Our collection of objects and rare books are carefully curated to ensure each edition is a valuable piece of bibliographical history. Here’s what sets us apart:

• Authenticity and Provenance: Each item is meticulously researched and verified for authenticity and collation.
• Expert Curation: Our selection process focuses on significance, condition, and rarity, resulting in a collection that is both diverse and distinguished.
• Customer Satisfaction: We aim to provide an exceptional customer experience, from detailed descriptions to secure and prompt delivery of your purchase.
• Returns Policy: We offer an unconditional guarantee on every item. If you wish to return an item, it may be sent back to us within fourteen days of receipt. Please notify us in advance if you wish to do so. The item must be returned in the same condition as it was sent for a full refund.

Cataloguer: Daniel Hornsey

Daniel Hornsey has specialised in fine and rare books, ephemera, and collectors’ editions for over thirty years. As a long-standing member of the antiquarian book trade, he has advised private collectors, curated catalogues, and sourced works for leading dealers, libraries and institutions across the world.

Hornseys’ exhibit regularly at book and map fairs in London and throughout the UK and are members of the Provincial Booksellers Fairs Association, the PBFA.

His fascination with Hergé’s work — especially ‘The Adventures of Tintin’ — began in childhood. Daniel recalls reading Tintin in original European editions and quickly recognising that these were not merely children’s books, but finely illustrated narratives crafted with artistic depth and wit.

As noted by the Musée Hergé in Louvain-la-Neuve, Hergé’s ‘ligne claire’ style has influenced generations of European comic artists and his original drawings and paintings command very high prices with his painting of ‘The Blue Lotus’ jar fetching £2.8m at auction in 2021.

By presenting these works through Hornseys’, he hopes to contribute to the continued appreciation of one of the 20th century’s most influential illustrators, helping new generations discover the artistry and legacy of Hergé.