Lexander Girard American 1907 1993 Palace

Alexander “Sandro” Girard (American, 1907–1993) is a cornerstone of mid-century modern design. His textiles for Herman Miller, environmental graphics, and color-forward interiors shaped the look of postwar America and remain highly collectible. If you’ve encountered a listing or label reading “Lexander Girard American 1907 1993 Palace,” you’re likely dealing with a search-optimized shorthand pointing to Alexander Girard and a work identified—rightly or wrongly—as “Palace.” This guide explains what “Palace” might reference, how to authenticate Girard objects, and how those nuances affect appraisal.

Who was Alexander Girard (American, 1907–1993)?

• Role and era: A designer’s designer, Girard led Herman Miller’s Textile Division from 1952 into the early 1970s, collaborating alongside Charles and Ray Eames and George Nelson.
• Disciplines: Textile design (prints and weaves), environmental and exhibition graphics, product color programs, interior architecture, and corporate identity.
• Signature commissions: La Fonda del Sol restaurant (early 1960s), the sweeping corporate identity for Braniff International Airways (mid-1960s), the Textiles & Objects shop in New York, the Miller House interiors in Columbus, Indiana, and later his folk art scholarship in Santa Fe, culminating in a landmark installation at the Museum of International Folk Art.
• Why it matters for appraisal: Girard’s work varies widely in medium and issue date (prototype, production, reissue), and values swing with rarity, condition, and provenance. Knowing what you’re looking at is crucial.

What does “Palace” mean in Girard listings?

“Palace” can surface in sale descriptions for Girard works for a few reasons. Before assigning value, pin down exactly what is meant:

• Possible pattern name: Girard designed hundreds of textile patterns for Herman Miller across the 1950s–1970s. Pattern names were printed on sample cards and often on the fabric selvedge. If the textile itself bears “Palace” on its selvedge alongside Herman Miller information, that may be the pattern name. Verification is key; sellers sometimes misread or abbreviate titles.
• Environmental graphic or panel title: Girard’s Environmental Enrichment Panels (EEPs) for Herman Miller brought bold motifs into the office. Some panels carried descriptive names internally for ordering; a listing might apply “Palace” as an informal or dealer-assigned title to a motif with architectural or heraldic resonance. Confirm with period catalogs or order sheets when possible.
• Site-specific association: “Palace” could reference a venue or museum connection (for instance, a commission sourced from a “Palace” site) rather than a formal title. If so, provenance evidence must tie the piece to that interior or exhibition.

Takeaway: treat “Palace” as a claim to be tested against physical markings, period documentation, and authoritative sample or catalog references. Don’t assume it’s the canonical name until the object confirms it.

Identifying authentic Girard textiles, panels, and ephemera

Correct identification begins with the object in hand. Use these medium-specific markers.

Textiles (Herman Miller, mid-century originals)

• Selvedge data: Look for printed selvedge with the manufacturer (commonly Herman Miller), pattern name, and sometimes “Alexander Girard.” Not every run bears the designer’s name, but manufacturer and pattern info are common on later 1950s–1970s pieces.
• Hand and construction: Girard’s textiles span printed cottons, linens, rayons, and wool blends, as well as jacquard and dobby weaves. Expect crisp repeats, strong registration in multi-color prints, and industrial-scale yardage widths typical of the period.
• Scale and repeat: Compare motif scale to period sample cards. Reissues can alter scale slightly.
• Dyes and fading: Mid-century dyes can show even, soft fading; uneven, high-saturation shift may indicate later over-dyeing, sunstrike, or digital reprint artifacts.
• Mounting history: Original bolts, architect sample books, or upholstery remnants with period staples and tacks support authenticity and period use.

Environmental Enrichment Panels (Herman Miller, early 1970s)

• Substrate: Factory-printed panels were produced to interoperate with Herman Miller’s Action Office systems; substrates are typically vinyl or heavy coated stock suited to partition mounting.
• Sizes: Panels were offered in standardized widths and heights aligning with partition modules. Non-modular sizes may indicate later reprints, crop, or aftermarket mounting.
• Printing: Screen-printed colors with palpable ink layers are common on originals. Later reproductions can appear thinner or digitally dithered under magnification.
• Backing/labels: Look for Herman Miller product labels, order codes, or adhesive remnants consistent with modular partition mounting.

Interior elements and ephemera

• Restaurant and airline material: Menus, matchbooks, posters, signage, and wayfinding may carry Girard’s motifs and typography. Assign greater value when tied to a documented commission (e.g., La Fonda del Sol, Braniff).
• Furniture and objects: Girard designed accessories and, notably, the Wooden Dolls (originals are exceedingly scarce; most seen today are authorized later editions).
• Documentation: Period photographs, architectural drawings, and invoices are decisive for site-specific pieces or salvaged signage.

Reissues and authorized editions

• Textiles: Many Girard patterns were reissued by high-end manufacturers decades later. Reissues generally carry modern selvedge credits, contemporary fiber content labels, and different bolt wrappers.
• Objects and dolls: Licensed producers have issued faithful re-editions; these bear modern maker marks and packaging. They are collectible yet distinct from mid-century originals.

Market and valuation factors

Values vary widely by medium, rarity, and condition. The ranges below reflect recent market tendencies and should be refined with comparable sales and current demand.

• Vintage Herman Miller yardage (mid-century): Common patterns and colorways can trade around the low hundreds per yard; uncommon patterns, early colorways, or exceptional condition can push into the mid-to-high hundreds per yard. Full, untouched bolts and architect archive samples can command a premium.
• Upholstered artifacts: Period seating upholstered in Girard textiles (with manufacturer attribution) often brings more than the textile alone, especially when paired with iconic frames (e.g., Eames or Nelson). Value reflects both the frame’s market and the fabric’s condition.
• Environmental Enrichment Panels: Highly recognizable motifs in clean, original sizes with labels often achieve strong four-figure results; rare motifs or matched sets can climb further. Condition issues (creases, scratches, adhesive ghosts) reduce price markedly.
• Ephemera: Braniff materials, early restaurant graphics, and T&O shop artifacts can range from modest three figures for menus and small printed matter to higher prices for large-format posters or signage with clear provenance.
• Site-specific elements: Architectural elements or signage from documented commissions can achieve significant premiums, but only when provenance is robust and installation context is clear.

Key drivers

• Attribution and naming accuracy: A confident match to a named pattern or panel—accurately documented—supports value. Ambiguities around “Palace” must be resolved.
• Condition: Fading, stains, tears, and conservation interventions are critical in textiles; abrasions and delamination matter for panels.
• Scale and completeness: Full repeats, uncut yardage, original sizes, and complete sets outperform scraps, offcuts, or cropped graphics.
• Provenance: Direct links to a notable commission, designer’s estate, or architect’s archive elevate desirability and value.

Condition, conservation, and mounting

• Textiles: Dry surface clean only; avoid aggressive wet cleaning until fibers and dyes are tested. Support fragile weaves with a conservation lining if display is planned. For upholstery, consider reupholstering only when original material is unsalvageable; retaining original—even imperfect—fabric may preserve value.
• Panels: Flatten gently under controlled humidity if cockled; avoid solvents that can haze or lift screen inks. If adhesive residue is present, consult a conservator before removal.
• Light sensitivity: Girard’s saturated palettes are light-reactive. Use UV-filter glazing for framed works and keep lux levels low in display.
• Mounting: For textiles, plan stitch-mounted displays on archival substrates. For panels, use mechanical supports that do not stress edges or original coatings.

Documentation and provenance: how to verify

• Selvedge and labels: Photograph all edge markings, bolt wrappers, and product stickers. Note exact wording, typefaces, and any codes.
• Compare to period reference materials: Match motif scale, colorways, and product codes to original manufacturer sample cards, price sheets, or catalogs. Collectors, dealers, and institutional archives often hold scans or originals.
• Chain of custody: Assemble a paper trail—bills of sale, designer or architect correspondences, photos of the object in situ. For site pieces, building permits or deinstallation records help.
• Expert review: For important valuations, secure an opinion from a specialist familiar with Girard’s Herman Miller era and later reissues. Independent conservator reports add credibility and surface-condition detail.
• Beware assumptions around “Palace”: If the only evidence for the word is in a dealer title, insist on object-based proof (selvedge, tag, order code) or be prepared to appraise on visual attribution alone, without a specific pattern-title premium.

Practical checklist: verifying a Girard piece marked “Palace”

• Identify the medium: textile, panel, ephemera, or site-specific object.
• Locate marks: selvedge text, labels, order codes, or maker stamps.
• Confirm the name: does “Palace” appear on the object or only in the listing?
• Compare scale: verify repeat or panel size against period specs.
• Inspect printing/weave: look for mid-century production traits (screen ink deposit, weave clarity).
• Assess condition: note fading, stains, tears, creases, adhesive residues.
• Check provenance: gather any documentation tying the piece to a specific commission or purchase.
• Screen for reissues: look for modern manufacturer credits or packaging.
• Value with comps: use recent sales of the same pattern/panel and size, adjusting for condition and provenance.
• Document thoroughly: high-resolution images, measurements, and a condition report to accompany appraisal notes.

FAQ

Q: Is “Lexander Girard” the same as Alexander Girard? A: Yes. “Lexander” is usually a truncated or misspelled form used in listings. The designer’s full name is Alexander (Sandro) Girard, American, 1907–1993.

Q: How can I confirm if “Palace” is the official name of my textile or panel? A: Look for the name on the object itself—textile selvedge, product label, or order code. Then cross-check with period sample cards or catalogs. Absent object-based evidence, treat “Palace” as a descriptive tag, not a definitive title.

Q: Are reissued Girard textiles and objects collectible? A: Yes, but they are valued differently. Reissues typically carry modern maker marks and contemporary fiber/packaging details. They’re desirable design objects, yet appraisals should distinguish them from mid-century originals.

Q: Do cut textile samples or small remnants have value? A: They do—especially if they show a full motif repeat or come from an architect’s sample book. However, uncut yardage and complete repeats bring stronger prices.

Q: What hurts value the most in Girard pieces? A: Misattribution, heavy fading or stains in textiles, trimmed or creased panels, and missing provenance for site-specific items. Over-cleaning or non-reversible restorations can also depress value.

By approaching “Palace” as a claim to be verified—and by grounding your appraisal in physical evidence, period references, and condition—you’ll avoid common attribution traps and accurately position Girard works in today’s market.