A full-color, illustrated, comprehensive book on the legendary American doll-maker and the company she founded in 1923, is also the first ever produced with the co-operation of the Alexander Doll Company and Madame Alexander's family. This book features a rich compilation of photographs, which bring to life the magical legacy of Madame Alexander. Collectors of both historical and contemporary dolls will be happy with the book's collection of 758 mint dolls dating from 1930-1998.

Concentrating on Cissy, Lissy, Cissette, Alexander-Kins, Little Genius, and Elise, this book continues the theme of the late Patricia Smith's Encyclopedia of Madame Alexander Dolls, 1965-1990, which was a great seller for many years. This encyclopedia spans the years 1948 through 1965, which covers the vintage hard plastic dolls of the golden era of Madame Alexander dolls. Most of the highest valued dolls today were made during this period. The dolls from this era consistently win top honors in competition at the national conventions of the Madame Alexander Doll Club. Many of the dolls that began in this period (Cissy, Wendy, and Cissette) are the center of the Madame Alexander line today, after a time span of almost 50 years. You won't want to miss this exhaustive resource on the dolls made by the Madame Alexander Doll Company. 2006 values.

A visual timeline of the classic toy combines photographs with information about more than two thousand significant, popular, and rare LEGO minifigures.

The definitive Alexander identification and price guide. Glenn Mandeville updates this definitive guide on Madame Alexander dolls. Over 2,000 listings and prices of dolls made from the early 1920s to 2002. Featuring one-of-a-kind and special dolls, too. Identification tips and features of the Alexander Doll faces plus other great tips for collectors. A must-have for every Madame Alexander doll collector.

A 1994 price guide to Madame Alexander dolls. Although the prices are outdated, it is a valuable reference guide for history and identification.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.