The Jaguar MkX Kidnapper’s Car – Model Car – 29920 – La Jaguar Des Ravisseurs – 1/24 Scale

Author: Hergé & Editions Moulinsart
Price: £125.00
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 ‘The Black Island’. 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: 29920

The Jaguar MkX: A Brief Account

The Jaguar Mark X (later known as the Jaguar 420G) is a landmark in British automotive design and engineering, produced by Jaguar Cars Ltd between 1961 and 1970. Introduced at the 1961 Earls Court Motor Show, the Mark X was conceived as Jaguar’s most luxurious and technically advanced saloon, aimed at both domestic and export markets—particularly the United States. It represented a bold statement of post-war British craftsmanship, blending opulence, performance, and modern engineering in a way few contemporaries could match.

At launch, the Mark X was the largest and most prestigious Jaguar ever built, superseding the Mark IX and setting new standards for refinement. It featured an all-new monocoque body construction, a first for a Jaguar saloon of this size. This steel unitary structure provided exceptional rigidity while allowing for sleeker, lower proportions than the upright chassis-based cars that preceded it. Its design, led by Sir William Lyons, combined sweeping curves with a broad, assertive front grille, faired-in headlamps, and a long, tapering tail. The result was both elegant and imposing—decidedly modern yet unmistakably British.

The car was powered by Jaguar’s celebrated 3.8-litre XK straight-six engine, delivering around 265 horsepower, later upgraded to 4.2 litres in 1964. Power was transmitted through either a four-speed manual gearbox with overdrive or a Borg-Warner automatic transmission. The Mark X could reach speeds of approximately 120 mph (193 km/h), an impressive figure for a saloon of its size and weight. Its performance, combined with independent rear suspension—a sophisticated design shared with the later E-Type—gave it remarkable handling and ride comfort for a luxury car of the early 1960s.

Inside, the Mark X epitomised British craftsmanship. The interior was lavishly appointed with polished walnut veneers, deep-pile Wilton carpets, and supple Connolly leather upholstery. The dashboard, elegantly curved and meticulously finished, reflected Jaguar’s commitment to blending traditional materials with modern ergonomics. Passengers enjoyed individual rear armchairs, generous legroom, and discreet lighting—comforts that placed the Mark X on a par with, or even above, some Rolls-Royce and Bentley models of the same era.

Despite its grandeur, the Mark X maintained Jaguar’s hallmark of offering “grace, space and pace” at a fraction of the cost of its rivals. It was equally at home chauffeuring dignitaries as it was crossing continents under its own power. Its combination of sporting performance and limousine luxury made it a favourite among successful professionals and public figures of the 1960s.

In 1966, the model was subtly revised and rebranded as the Jaguar 420G. This updated version featured a revised front grille, side mouldings, and improved interior appointments, while retaining the robust 4.2-litre engine. Production of the 420G continued until 1970, when it was succeeded by the Jaguar XJ6, a smaller but more advanced model that carried forward the same design philosophy in a more compact form.

Though the Mark X was not a commercial success by Jaguar’s usual standards—largely due to its size and fuel consumption—it is now appreciated as a pivotal model in Jaguar’s evolution. It introduced design and engineering concepts that would shape the brand for decades, including the use of monocoque construction, the independent rear suspension system, and the modern aesthetic that defined later Jaguars.

Today, the Jaguar Mark X is prized by collectors and enthusiasts for its elegant proportions, sumptuous interior, and understated power. Well-preserved examples stand as a testament to an era when British motoring combined technical innovation with artisanal craftsmanship—a true expression of mid-century confidence and style.

The Black Island: A Brief Account

The Black Island (L’Île Noire) is one of the most atmospheric and visually compelling instalments in The Adventures of Tintin, written and illustrated by Hergé (Georges Remi). First published in 1937 and later revised twice—in 1943 and 1966—it reflects both the development of Hergé’s artistic style and his growing fascination with realism, geography, and cultural accuracy. Set primarily in Britain and Scotland, it combines detective intrigue with coastal mystery, offering one of Tintin’s most grounded and cinematic adventures.

The story begins when Tintin and Snowy witness a light aircraft making an emergency landing in the countryside. When Tintin approaches to help, he is shot by one of the pilots, setting off a chain of events that leads him into an international counterfeiting conspiracy. The trail takes him from the south of England through a succession of quaint villages, railway stations, and coastal landscapes, ultimately leading to the mysterious Black Island—a remote, fog-shrouded isle off the Scottish coast, said to be guarded by a terrifying beast.

In narrative terms, The Black Island stands out for its strong sense of place. Hergé’s meticulous research—particularly evident in the 1966 redrawn edition—resulted in some of the most authentic depictions of Britain ever seen in European comics of the time. The settings include a realistic portrayal of English rural life, complete with local tradespeople such as Mr Cutts the Butcher, red telephone boxes, level crossings, and characteristic architecture. This careful attention to local detail enhances the credibility of the adventure and situates Tintin firmly in a recognisable world.

The plot unfolds as a classic mystery-thriller. Tintin uncovers evidence that the downed plane was linked to a criminal organisation producing counterfeit banknotes. Posing as a reporter, he follows the clues northward, evading pursuit by the gang and the ever-bumbling detectives Thomson and Thompson, who wrongly suspect him of wrongdoing. His journey by train, car, and boat reflects Hergé’s love of mechanical detail—each vehicle is drawn with technical precision and rendered true to scale.

The climax occurs on the Black Island itself, dominated by a ruined medieval castle perched above storm-battered cliffs. Here, Tintin confronts the counterfeiters and discovers that the terrifying “beast” is in fact a gorilla named Ranko, kept to deter intruders. The revelation blends humour with suspense, resolving the story in a way that remains both logical and thrilling. Tintin’s bravery and resourcefulness once again restore justice, earning him the gratitude of the authorities and reinforcing his reputation as a fearless investigative reporter.

From a stylistic perspective, The Black Island marks a transitional moment in Hergé’s development. The original 1937 black-and-white version has a brisk, pulp-adventure energy; the 1943 colour edition softens the tone; and the 1966 version—redrawn under the supervision of Hergé’s Studio—achieves a remarkable degree of visual authenticity, featuring landscapes, architecture, and vehicles based on contemporary British reference material. This final version, widely regarded as definitive, exemplifies the ligne claire style: clean outlines, uniform colour blocks, and balanced composition.

Thematically, the album explores the tension between appearances and reality—a central motif throughout The Adventures of Tintin. What seems monstrous turns out to be misunderstood; what appears ordinary conceals corruption. Tintin’s ability to look beyond surface impressions, to reason and to empathise, is what enables him to uncover the truth.

Today, The Black Island is celebrated as one of Tintin’s most quintessential adventures: a detective story, travelogue, and piece of visual storytelling that captures the romance of exploration within a vividly European setting. It remains a favourite among readers for its atmosphere, humour, and the charm of its everyday details—from Mr Cutts’s butcher’s van to the misty Scottish cliffs where myth and modernity meet.

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.