The last person in the house finally gets to bed — lights out, and thoughts start to go into neutral. Gradually, our breathing relaxes, and we slip into a sleepy world of dreams and subconscious. There's another rhythm of the house - Elise and friends are just now falling into it and starting to reset from their last event. It's Valentine week, and Elise has promised she would dance in the moonlight. There's the rustle of tulle, the pitter pat of little paws and the more than a few giggles as the audience and talent take their places. The house settles into its evening rhythm, our dreams ebb, and tide and it's show time in the doll room. The music is enchanting, and before you know it, it's applause, applause, applause... or was it just sweet dreams playing with our past and present. Thank you, Elise, as ever, so beautiful, so sleepy, so happy.
Elise of 1963 was in a unique position in the Madame Alexander doll line-up. With both 21 inch Cissy and Jacqueline taking their final bows in 1962, this years 18 inch Elise got star treatment. She received the attention of a portrait doll, and was presented in a number of stunning outfits. This particular doll featured above is a rare example is of Elise with a Marybel face. The No. 1740 Elise Scarlett also came in the more familiar Elise mold. 1963 would be the last year for the 10 inch fashion doll Cissette. Madame Alexander seemed to be in a flux of what direction to take herself with the overwhelming success of Barbie's 1959 debut. Alexander would give a go at this market with the short lived introduction of 12 inch Brenda Starr in 1964 - renamed Yolanda in 1965. Regaining leadership in the ever changing doll industry with the American fashion doll seemed an elusive effort. Into her 60s by now, Madame still had a few surprises up her sleeve, and would regroup with the success of the eight inch American and International dolls.
Loves Greetings to y'all! MADAME ALEXANDER'S 13" 1991 Pierrot Clown #1558 dancing with this stunning mint in box pink Elise Ballerina with a Marybel face — infatuated and floating on a cloud of marshmallow hearts — cherry flavored of all things!
Pierrot is the endearing, but forever sad and pining in love clown. Made fun of, tricked, forever in love and always loyal. For centuries his interpretation has evolved over time and by nations, as they but their stamp on his image and character. A favorite figure in literature, art, plays, poetry, pantomime, ballet and even a few rock stars. Originating with Italian roots, our buffoonish anti-hero struggles for a place in life.
Arriving relatively late in America, it was the late nineteenth century that Pierrot became the adopted image of a clash of changes running through the country. The fin-de-siècle world in which this Pierrot represented was clearly at odds with the reigning American Realist and Naturalist movement. In the last year of the century, Pierrot appeared in a Russian ballet, Harlequin's Millions, its dancers the members of St. Petersburg's Imperial Ballet. This would set the stage for many more productions featuring Pierrot - strongly reinforcing the ballet connection.