The Opel Olimpia – Model Car – 29921 – L’Olympia Des Espions Sylvades – 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: 29913

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.

The Opel Olimpia: A Brief Account

The Opel Olympia is a historically significant German automobile first introduced by Adam Opel AG in 1935. It holds a distinguished place in motoring history as Germany’s first mass-produced car with an all-steel monocoque body, a construction technique that greatly improved structural rigidity while reducing overall weight. Its design and engineering placed it at the forefront of pre-war automotive innovation, aligning Opel with the progressive industrial spirit of the 1930s.

The Olympia was named in honour of the 1936 Berlin Olympic Games, reflecting both the optimism and the national pride of the period. Its sleek, modern lines marked a clear departure from the upright, coach-built designs of earlier decades. The body featured a streamlined silhouette, integrated headlamps, and gently curving fenders—details that made it look distinctly modern for its time. The use of pressed steel panels allowed for tighter tolerances and smoother surfaces, giving the Olympia a refined, aerodynamic profile that anticipated post-war automotive aesthetics.

Mechanically, the early Opel Olympia was equipped with a 1.3-litre four-cylinder engine, producing around 24 horsepower, and capable of reaching speeds of approximately 100 km/h (62 mph). It used a three-speed manual gearbox and rear-wheel drive, with a robust chassis that made it suitable for both urban and rural roads. Suspension was conventional for the era, using semi-elliptic leaf springs at the rear and independent front suspension with coil springs—a relatively advanced feature that improved ride comfort and handling stability.

Inside, the Olympia was designed with practicality and simplicity in mind. The cabin accommodated four passengers in reasonable comfort, with padded leatherette or cloth seats, clear instrumentation, and chrome-trimmed detailing. The dashboard, typically finished in painted metal, housed a centrally mounted speedometer and essential gauges. While modest by luxury standards, the Olympia’s interior quality reflected Opel’s commitment to precision manufacturing and affordability—values that helped the brand establish a broad customer base across Europe.

The model underwent several updates before and after the Second World War. The 1937 revision refined its styling, while the post-war Opel Olympia (1947–1953) became one of the first vehicles to symbolise Germany’s industrial recovery. Later versions, such as the Olympia Rekord, introduced in the 1950s, carried forward the name but adopted a more modern ponton body design. Each iteration retained the Olympia’s original ethos: accessible motoring built upon sound engineering and contemporary styling.

Culturally, the Opel Olympia came to represent the democratization of private transport in Europe. Affordable, reliable, and stylish, it enabled a growing middle class to own a car at a time when personal mobility was becoming a marker of progress and independence. Its pioneering use of unitary body construction influenced not only subsequent Opel models but also the wider automotive industry, including other European and American manufacturers who adopted similar production methods.

Today, surviving examples of the Opel Olympia are highly valued among collectors of pre-war and early post-war vehicles. Restored models showcase the craftsmanship of 1930s German engineering—compact, elegant, and thoughtfully designed. Whether admired for its technical innovations or its symbolic role in automotive history, the Olympia remains an enduring icon of functional design and industrial modernity.

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.
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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.