Mattress Care


Your mattress may be the most important piece of furniture you own. After all, if you sleep eight hours a night, you’re spending a third of your life in your bed!

During normal bedroom use, you may notice slight body impressions forming on your mattress. Body impressions are not a product defect. They commonly occur because the mattress is adjusting to the contours of your body. Cleaning and turning your mattress frequently will help minimize wear and enable maximum comfort.


Use your vacuum cleaner’s upholstery attachment to remove dust from the surface of your mattress and box spring. Vacuuming is the only recommended method of cleaning a mattress. Using a mattress pad, however, will help protect your bedroom sleep set from most stains. Make sure the pad is washable and easy to remove and replace.


The handles on the sides of the mattress should never be used to support the mattress’s entire weight; they should be used only to position the mattress over the box spring. If improperly used, the handles could eventually pull away from the mattress and damage the fabric.


After you’ve vacuumed the top of your mattress, turn it over and swivel it around (move the head to the bottom, and the bottom to the head). Do this once every two weeks during the first two months of bedroom use, and every three months thereafter. It’s also a good idea to rotate the box spring periodically.


If a tough stain occurs, use upholstery shampoo (following the directions exactly) or mild soap and cold water, and rub lightly with a soft sponge or brush. The bedroom set should never be soaked. To speed drying time, stand the mattress on its side and point an electric fan to blow across the moistened area.


Old mattresses kept in storage in a garage, basement, or attic may become a fire hazard and should be promptly discarded. Also, don’t purchase or keep any mattress made before 1973, the year the Federal Mattress Flammability Standard went into effect.

For more information regarding the Federal Mattress Flammability Standard, visit the Consumer Product Safety Commissions Web site at

Leather Care


Leather is one of the oldest, most durable materials known to man. Leather consists of animal hide that has been by cleaned of all dirt and bacteria and then dried. This process is called tanning. Without tanning to preserve the skin, the leather would simply decompose and have no value.

After the leather is tanned, it goes through a finishing process that may include dyeing, rolling, pressing, spraying, lacquering, antiquing, waxing, buffing, embossing, glazing, waterproofing, or flameproofing. Finishing enhances the natural beauty of the leather, gives it protection, adds color, and provides surface appeal. Many looks are available to the skilled tanner, but the finishing technique employed is dictated by the nature and quality of the hide itself.


Although leather home furniture is relatively low-maintenance, it is not totally maintenance-free. Proper care is vital to the preservation of leather furniture. Use these leather furniture care tips to help maintain the value of the leather furniture in your living room, bedroom, or any room of your home.

  • Position all leather furniture at least two feet from a heating source. Prolonged exposure to heat dries out leather.
  • Leather upholstery fades when exposed to direct sunlight. Keeping leather furniture away from direct-light sources such as windows, skylights, and glass doors can prevent discoloration.
  • Be sure to practice regular preventive maintenance on the leather furniture in your living room, dining room, and bedroom. Improve the leather’s resistance to soil by treating its surface with a leather cleaning or polishing product. Give special attention to high-use areas—seats, arms, and backs. Fully clean and re-protect your leather upholstery every six months. Be sure to use a product that’s recommended by the manufacturer, and always test the product in a hidden area first.
  • Never use a hair dryer to speed drying unless recommended. When possible, let the leather air-dry after cleaning.
  • Vacuum weekly to remove dust from your leather home furniture.
  • While leather initially repels most spills, liquids will be absorbed if not treated properly. Blot any liquid spills immediately with a clean, absorbent cloth or sponge, and then allow the leather to air-dry. If the spill is absorbed, it will dissipate over time as the leather naturally diffuses the stain.


If you do encounter a stain on the leather furniture in your living room, dining room, or bedroom, gently rub the stained area with a mixture of water and baking soda, starting from the edge and working inward to the center. As always, try the solution first in an inconspicuous location to test the mixture’s effects on the leather. Rinse the area thoroughly, removing the excess by blotting with a dry cloth or sponge, and then allow the leather to air-dry completely.

If the stain persists, seek professional cleaning advice.

Upholstery Care


With the appropriate care, your upholstered living room, dining room, and bedroom furniture can provide many years of splendid use. By carefully following the upholstery maintenance, cleaning, and stain removal information provided below, you can greatly extend the lasting beauty of your home living room, dining room, and bedroom furniture.


Follow the simple guidelines below to keep all your upholstered living room, dining room, and bedroom furniture looking like new.

  • To avoid fading, keep upholstered home furniture away from direct sunlight.
  • Vacuum upholstered furniture as often as possible. Even if your home furniture has seen little use, the abrasive action of dirt and dust particles can wear the fibers of your upholstery fabric. For high-use furniture, it’s a good idea to frequently beat the cushions and then vacuum and rotate them.
  • Damp-dust arms and headrest areas with a cleaning solution to prevent body oil accumulation on the upholstery fabric (be sure to follow the manufacturer’s recommendation as to the type of upholstery cleaning solution to use; see item #2 under Upholstery First Aid).
  • Avoid placing newspapers directly on home furniture upholstery fabric, since ink will accumulate and is difficult to remove.
  • Never cover your upholstered home furniture with dark-colored blankets, sheets, etc., because the dyes can rub off onto fabric when dry or bleed when wet.
  • Avoid the use of dyes, paints, inks, nail polishes, and Mercurochrome around your upholstery fabric, since these substances alter color and will stain.
  • Never remove cushion covers for dry cleaning or machine washing, even though they have zippers.
  • Periodic professional cleaning will keep soil accumulation from marring the beauty of the upholstery of your home living room, dining room, and bedroom furniture.


You’ve just spilled a glass of wine on your living room sofa—what do you do now? It’s important to act promptly but not to panic. Follow these guidelines to control a spill and prevent a stain.

  1. Act quickly before a spill spreads or dries.For liquid spills:
    Blot lightly with a dry paper towel to start. Increase pressure and use a fresh paper towel until no more liquid is absorbed. DO NOT RUB! If residue remains, see the stain removal guide below.

    For solid or semi-solid spills (such as foods):
    Gently lift the substance from the upholstery with a spoon or dull knife, scraping carefully toward the center of the spill. Treat any wet residue as a liquid spill. If residue remains, see the stain removal guide below.

    For dry spills (such as ashes or dry cosmetics):
    Adding any liquid to a normally dry substance, such as ashes, may cause a permanent stain. Vacuum, beat the area with a ruler or similar implement, vacuum again, then use the adhesive side of masking tape to remove any residue. If residue remains, see the stain removal guide below.

  2. Check the manufacturer’s label for any cleaning instructions and/or fabric cleaning code.The following are the standard fabric cleaning codes used by furniture manufacturers. Use these codes to determine what types of cleaning methods are appropriate for your fabric:
    W Use water-based cleaning agent
    S Use mild (water-free) cleaning solvent
    WS Use water-based cleaning agent, or use mild (water-free) cleaning solvent
    X Clean ONLY by vacuuming or light brushing
  3. Always test water or a cleaning agent by applying to the same upholstery fabric on a hidden area of the upholstered piece. Allow to dry completely, then check its effect on the fabric.
  4. Apply water or a cleaning agent (as recommended in the stain removal guide) in small doses to avoid spreading the stain or causing a ring. Be patient; apply several times, blotting firmly with a dry paper towel to soak up the liquid after each application.
  5. Never rub a fabric; rubbing could result in damage to the nap, loss of color, or spreading of the stain.
  6. Restore the nap on velvet by brushing gently before it dries.
  7. To avoid water spotting, use a fan or cool blow dryer (on a cool setting) to accelerate drying. Dry from the outer edge of the affected area toward the center.
  8. If the stain persists, seek professional cleaning assistance.


Download: Printable Stain Removal Guide

Always follow the upholstery first aid steps outlined above, and then pretest any of the remedies listed below in an inconspicuous area before using them.

Use the table below to determine the appropriate cleaning method to use on your home furniture upholstery stain. Explanations of the letters in the Remedy columns appear below the table.

Stain Cause Remedy Stain Cause Remedy
Alcoholic drinks C/B Ice cream B
Ashes/soot A/B Ink/lipstick A/C
Blood B Jam/jelly B/C
Butter A Margarine A
Cake frosting A/B Mayonnaise A/B
Candle wax A Milk/formula A/B
Candy B/C Mud B
Ketchup B Mustard B
Chewing gum A Oil A
Chocolate A/B Salad dressing A/B
Coffee A/B Sauces A/B
Cosmetics A/B Shoe polish A/C
Crayon A Soft drinks B
Dairy products A/B Syrup B
Egg B Tar A
Feces B Tea B
Felt-tip marker C Urine B
Fruit/juice B/C Vegetable A/B
Gravy A/B Vomit B
Grease A Wine/Kool-aid C/B
   A. Use a dry-cleaning solvent (such as Energine®, Carbona®, or K2r®). READ LABEL CAUTIONS. Apply to stained area with a clean cloth. Using a paper towel, blot with increasing pressure until liquid is absorbed. Repeat this procedure multiple times to rinse the stain material from the fabric.
   B. Use a protein/enzyme-type laundry detergent (such as Era®), diluted; use one (1) part detergent to 30 parts water. Apply to stained area with a clean cloth. Using a paper towel, blot with increasing pressure until liquid is absorbed. Repeat this procedure multiple times to remove the stain. Repeat as necessary with clear water to rinse the detergent from the upholstery fabric.
   C. Use a solution of one (1) part distilled white wine vinegar mixed with nine (9) parts ethyl rubbing alcohol (denatured or isopropyl rubbing alcohol may be substituted). Apply to stained area with a clean cloth. Using a paper towel, blot with increasing pressure until liquid is absorbed. Repeat this procedure multiple times to remove the stain from the upholstery fabric.

Wood Furniture


There is something truly special about living room, dining room, and bedroom furniture made from wood. For its weight, wood is one of the strongest materials known to man. Wood is a natural product; just as each tree is unique, each piece of wood furniture is different in depth of color, richness of texture, and pattern of the grain. Quality wood home furniture in your living room, dining room, or bedroom provides warmth and creates a rich, elegant ambience while offering gentle, lasting comfort. If properly cared for, wood furniture develops its own patina, or surface appearance, of softness and mellowness, and increases in value with age.

Your home’s wood furniture can be made from hardwoods, softwoods, or a combination of both. Hardwoods, such as oak, ash, maple, cherry, and poplar, come from broad-leafed, deciduous trees that produce a fruit or nut and become dormant in the winter months. Softwoods, such as pine, cedar, hemlock, redwood, and spruce, are harvested from needle-leafed, coniferous trees, which produce cones and are typically evergreens. Hardwoods are used for all types of living room, dining room, and bedroom furniture, flooring, and kitchen cabinetry. Although softwoods are typically used as structural lumber (for commercially available 2-by-4’s, for example, or in frames for upholstered sofas and chairs), they’re sometimes used for decorative applications as well.


Cleaning is very important for preserving the value of the wood furniture in your living room, dining room, and bedroom. As you would wash a car before polishing it, you should clean your wood before you polish it. Although you don’t see most dirt and soil on wood, it builds up just as it does on mirrors, a stove, or windows. This buildup may consist of oily or greasy film from heating and cooking, creosote from a fireplace, or just plain dust. Cleaning removes these contaminants so they don’t get ground into the finish and into the wood. To avoid the damaging effects of buildup, horizontal surfaces such as tabletops and desktops should be cleaned and polished monthly. Vertical surfaces should be cleaned every eight weeks.

Choose a wood furniture cleaning product that fits within the parameters outlined by the furniture manufacturer. If you’re not sure what product to use, contact either the furniture manufacturer or the merchant where the furniture was purchased for more information. Be sure to follow the instructions carefully, and test the product in an inconspicuous area before application. Beware of products that contain a high percentage of silicone oil. Silicone-based wood cleaners can seep through the original finish and cause permanent damage to the wood furniture in your living room, dining room, or bedroom over time.


Between cleanings, wood should be dusted regularly—ideally, at least once a week.

  • Never dust with a dry cloth. Most dust particles have sharp edges that can easily cut into and scratch the finish of your home’s wood furniture. Because of these sharp edges, dry dusting should be avoided.
  • Never use a feather duster. A feather duster simply scatters dust particles into the air, where they can fall back to rest on and harm your living room, dining room, and bedroom furniture.

For best results, use a clean, washable, lint-free cotton cloth, such as an old T-shirt, a cotton diaper, or a dishtowel. Make sure the cloth is free of buttons, snaps, zippers, etc., which could harm the finish of your home furniture.

Sprinkle a few drops of water, a dusting aid, or polish on your dusting cloth. The cloth should be damp, but should not leave the wood visibly wet when you wipe. Remove the dust with a gentle, oval motion that follows the grain of the wood. Always remember that in most cases you’re polishing the finish, not the wood—so use a light touch.


  • Keep home furniture out of direct sunlight, which can cause heat damage and bleaching of the wood.
  • To prevent the loss of moisture in wood, keep furniture away from heating and air-conditioning sources.
  • Always use coasters under both hot and cold drinks on your living room, dining room, and bedroom furniture.
  • To prevent gouging and scratching, use felt backing on lamps, ashtrays, and accessories.
  • When serving hot foods, always use place mats under plates and hot pads under serving dishes on wood dining room furniture.
  • To prevent moisture damage to your wood furniture, make sure plants are in drip-proof pots, and keep foliage from touching the furniture surface.
  • When placing items on furniture made from wood, always set them down gently; when retrieving items, pick them up, don’t slide them.
  • Don’t place rubber or synthetic materials, such as plastics, directly on wood finishes, since they might contain chemicals that could damage the finish.
  • Don’t place magazines or newspapers on wood surfaces; the ink will bleed into the finish and eventually damage the wood.
  • Blot spills immediately. Once the surface is dry, coat the area with an appropriate polish or oil.
  • To prevent discoloration, frequently move items on wood furniture that’s exposed to the sun.
  • Avoid using nail polish and remover and harsh household products near wood furniture.
  • Dust furniture at least weekly with a damp, lint-free cloth.
  • Always clean wood furniture before polishing.
  • Always polish wood furniture after cleaning.


Moderate to serious damage to fine wood home furniture requires the help of a professional to correct. For simple, everyday wear, try these remedies:

  • To remove cloudiness: Rub wood surface with a cloth dipped in a solution of 1 tablespoon of vinegar added to 1 quart of water. Rub with the grain until surface is completely dry. Follow with application of furniture oil or polish.
  • To remove water rings: Rub water rings with a mixture of equal parts white vinegar and cooking oil, rubbing with the grain.
  • To remove heat marks: Coat heat mark area with mayonnaise and let stand for one hour, then wipe off.
  • To remove burns: Rub burn area with the finest-grade steel wool (000 or finer), rubbing lightly with the grain until the burnt material is smoothed off. Follow with an application of furniture oil or polish.
  • To remove candle-wax drippings: Gently scrape off excess wax. Apply a warm (not hot) iron over white cloth to absorb residue. Follow with an application of furniture oil or polish.
  • To remove dents: Wipe dented area with warm water. Apply a compress of paper soaked in warm water to swell the wood fibers. Let sit for 30 minutes and then apply a warm (not hot) iron over cloth until the dent is gone. Follow with an application of furniture oil or polish.

Furniture Care


Sponsored by Rhodes Furniture

You’ve decorated your home with the furniture of your dreams, but how do you keep your living room, dining room, and bedroom furniture looking beautiful for years to come? While it’s easy to find opinions on the best methods for cleaning and maintaining your mattresses and wood, upholstery, and leather furniture, it’s difficult to know whom you can trust with the care of these valuable items.

Home Furniture Care was developed by the Rhodes family of stores to provide the information you need to safely care for, clean, and protect the living room, dining room, and bedroom furniture in your family’s home. Combining more than 125 years of Rhodes’ furniture experience with the knowledge of some of the country’s finest manufacturers, this site is dedicated to helping you maintain the beauty and value of your home furniture investments.

Here you’ll find safe cleaning and dusting methods that will restore, enhance, and preserve the beauty of your fine wood furniture. Discover leather furniture care and fabric stain removal tips that can save and protect your precious upholstered furniture. You’ll also learn about the simple monthly maintenance that can greatly extend the life of your mattresses. Home Furniture Care has the information you need to keep your living room, dining room, and bedroom furniture looking great for years to come.

Don’t leave the care of your furniture to chance; let Home Furniture Care help take the guesswork out of your housework.

Galerie Vollard

In 1890, when Ambroise Vollard (1866-1939) took a job with “L’Union artistique”, a small Parisian gallery which specialised in academic painting, he was still a young law student with no contacts or experience in the art world. Yet he quickly became the greatest contemporary art dealer of his generation. It was he who launched the careers of Cézanne, Picasso and most of the Fauves, and exhibited the work of the Nabis, Redon, Matisse… He also became a writer and innovative publisher of original prints and art books.

Pierre BonnardAmbroise Vollard and his cat© ADAGP, Paris © Photothèque des musées de la ville de Paris, Pierrain

His versatility made him one of the giants of the history of modern art. And yet the man himself remains an enigma. Although he published his autobiography in 1936, Souvenirs d’un marchand de tableaux, his account is largely anecdotal and reveals nothing of his private life and his business methods. Vollard’s exotic origins thicken the mystery surrounding him. His father moved to Reunion Island when he was still very young and Ambroise Vollard spent a happy childhood there. Those who knew him seem to have been impressed by his physical presence. Suarès wrote: “To see him coming, you would think he was a giant; but a gentle giant.” All his gestures suggested a calm, thoughtful nature, the patience which was an asset in his work as an art dealer. By the turn of the century, Vollard was holding at least ten exhibitions a year and had attracted an international clientele.

Early Years

Pierre BonnardGirl seated with a rabbit© ADAGP, Paris © The National Museum of Western Art, Tokyo

Vollard moved to France in 1887, and set up his own business in 1890. In a humble two-room apartment near the church of Sacré Coeur, he started to sell the drawings and prints of Félicien Rops, Théophile-Alexandre Steinlen and Constantin Guys, which he bought along the quays of the Seine. The young man started from scratch and most of the Impressionist paintings were already beyond his reach. It was when he bought a set of Manet’s drawings and oil sketches from the artist’s widow that Vollard’s business really took off. His exhibition of these purchases in November 1894 drew praise from the critics, but above all it gave him the opportunity to meet Auguste Renoir and Edgar Degas and he began to sell their work.

Vollard was also interested in the work of young avant-garde artists. Maurice Denis, whom he also met at the Manet exhibition, introduced him to some of the Nabis: Bonnard, Roussel, Vuillard. Vollard bought some of their paintings then asked them to illustrate the books he planned to publish. In June 1894, the sale of the deceased estate of “Père Tanguy” gave Vollard an opportunity to buy canvases by Cézanne, Gauguin and Van Gogh very cheaply, along with works by better known artists such as Pissarro or Guillaumin.

Paul CézanneBlack Castle© RMN-Grand Palais (Musée d’Orsay) / DR

In September 1893, Vollard set up his first real shop at 37, rue Laffitte. It was small but was ideally situated in the heart of the Paris art market. “At the time, rue Laffitte was Painting Street,” Vollard wrote. Dealers and collectors were often in the vicinity, attracted by auctions in the nearby rue Drouot. Pissarro was pleased by Vollard’s arrival: “I think that this young dealer will fill the bill. He swears by stuff from our school or work that shows similar talent. He is very keen and knows what he’s talking about.” Besides it was a propitious time to open a gallery. In the 1980s, after being the official exhibition centre and marketplace for contemporary art for a century, the Salon was in decline. In 1895, Vollard positioned himself in the avant-garde market by exhibiting Cézanne, Van Gogh and Gauguin.

Vollard and Cézanne

Paul CézanneThree Bathers© RMN-Grand Palais / Pierrain

The Cézanne exhibition in November 1895 was a key event in the careers of both the artist and the dealer. Vollard was struck by a painting by Cézanne in the window of Tanguy’s paint shop: “I felt as though I had been punched in the stomach.” Even better, Cézanne did not yet have an art dealer. With this exhibition, Vollard asserted his skill as a talent scout and his nonconformist outlook. The Cézanne retrospective drew with lukewarm reactions, apart from a glowing review by Thadée Natanson in La Revue Blanche, but for artists and collectors it was a revelation. With the 1895 retrospective, Cézanne became a venerated master and Vollard laid the foundations for his future success. Indeed he secured the monopoly of Cezanne’s work and began to build up a network of international collectors.

Publishing Prints

Pierre BonnardPainters-printmakers© ADAGP, Paris © Photothèque des musées de la ville de Paris, Claire Pignol

The profits from the Cezanne exhibition enabled Vollard to move into larger premises at 6, rue Laffitte in May 1896. This new address became the centre of gravity of the Paris art scene until the First World War. Vollard held a series of remarkable exhibitions there while diversifying his activity. In the 1890s and during the first decade of the twentieth century, he played a leading role in the revival of printmaking. In June 1896, the first exhibition in his new premises was linked to the Album des peintres graveurs, Vollard’s first major publishing venture. In 1897, an exhibition of “painter-engravers”, accompanied the publication of Album d’estampes originales de la galerie Vollard. At the time, Pissarro wrote to his son: “Vollard is going to put a lithographic press in the rue Laffitte. This Creole chap is amazing. He flits from one thing to another with astonishing ease.” The Nabi artists worked with him on these two albums. Vollard also published collections of prints by Bonnard (Quelques aspects de la vie de Paris, 1895-1899), de Denis (Amour, 1892-1898) and Vuillard (Paysages et intérieurs, 1899). Apart from these publications, the Nabis were also offered two group exhibitions, in 1897 and 1898, an unusual practice for Vollard who preferred one-man shows.

Vollard and Van Gogh

Vincent van GoghArmand Roulin© Museum Folkwang

Vollard organised his first Van Gogh exhibition in 1895. It was a commercial failure. Undaunted, he presented another, even bigger, retrospective of the Dutch painter’s work, in his new premises in 1896-1897. The public had never before had an opportunity to see so many of Van Gogh’s paintings assembled in the same place. But once again it was a failure. Vollard then gave up promoting Van Gogh’s paintings. Difficult relations with Jo Van Gogh-Bronger, Théo’s widow, who became the legatee of both brothers when Théo died, probably influenced his decision. In his memoirs, Vollard admitted his mistake: “I was totally wrong about Van Gogh. I thought he had no future and I let his paintings go for a song.”

Vollard and Gauguin

Relations between Gauguin and Vollard were characterised by mutual misunderstanding. The two men met for the first time in Paris in 1893, shortly after the painter had returned from his first sojourn in Tahiti. They did a little business together in the next few years. When he set off for Polynesia again, in 1895, Gauguin at first refused to give Vollard access to the works he sent back to France. But the artist’s agents in Paris could not reasonably do without Vollard. So it was Vollard who, in 1898, exhibited several recent works by Gauguin, including the monumental Where do we come from? What are we? Where are we going? (Boston, Museum of Fine-Arts).

In difficult financial straits, Gauguin steeled himself to sign an agreement with Vollard in 1900 which guaranteed him 300 francs a month, as an advance on sales, and 200 francs for every painting sold. This modest proposal, which clearly reflected the difficulties Vollard encountered in finding buyers for Gauguin’s paintings, was a bitter pill for the artist who tried to sell his works through other agents. Gauguin called Vollard “the worst kind of shark” while the dealer remained surprisingly silent about his relationship with the artist.

Vollard as a Dealer

Squabbles over money were inevitable between artists and the dealer and Gauguin was not the only one who thought Vollard was a profiteer. His bulk purchases at very advantageous prices reinforced this image. Picasso in particular, whom Vollard welcomed in his gallery in 1901 when he was still an unknown artist of nineteen, reproached him for having taken the entire contents of his studio for a pittance. Matisse, admittedly pleased to be offered his first solo exhibition, was left with the disagreeable impression that the canvases of young artists just served as an alibi in the rue Laffitte gallery: “On the opening day, showing no respect for the exhibitor’s work, they soon started to bring out etchings by Renoir, Cézanne and others.” However, other people depicted Vollard as loyal and generous. His correspondence with Cézanne and Renoir provides evidence of their friendships.

Emile BernardHarvest© Paris 2007 – RMN-Grand Palais (Musée d’Orsay) / Jean-Gilles Berizzi

Sole agency contracts, like that signed with Georges Rouault, or the purchase of studio collections (Cézanne in 1899, Emile Bernard in 1901 or Picasso in 1906) enabled Vollard to build up a large stock of works over the years. He applied the latter method to the Fauves whose work he particularly appreciated, buying everything in Derain’s studio in 1905 and in Vlaminck’s the following year.

He also purchased lots, sometimes more selectively. From Odilon Redon, he first bought the Black works in 1893-1894, 1897 and 1899, before taking an interest in his drawings, pastels and paintings in subsequent years. He was sometimes restrained by the difficulty of selling a particular artist, such as Henri Rousseau, or by his own distaste for a style, as with the Neo-Impressionists. Although he bought The Models, and two or three other works by Seurat and even exhibited Maximilien Luce in 1902, he confessed that he did not understand Pointillism, which always made him think of “a lady’s embroidery”.

Vollard and the Impressionists

Edgar DegasOn the bed© RMN-Grand Palais (Musée d’Orsay) / DR

To compensate for the risks he took with young artists, Vollard tried to buy works by the best known Impressionists. He often traded with the artists themselves. In November 1894, for example, Pissarro swapped a Snow effect and perhaps other works for Manet’s Funeral. When Degas was building up his outstanding collection in the 1890s, he often exchanged his own works for paintings that Vollard had for sale.

Vollard’s friendship with Renoir lasted until the artist’s death in 1919. When Renoir was crippled with arthritis towards the end of his life, it was Vollard who advised him to model his sculptures in wax. The monographs written by Vollard – Paul Cézanne (1914),La Vie et l’oeuvre de Pierre-Auguste Renoir (1919) and Degas 1834-1917 (1924) -, show his admiration and affection for these painters.

Post World War I

The pace of the exhibitions organised by Vollard slowed down after 1908. The outbreak of the First World War forced him to close his gallery. After the war, Vollard preferred to receive his customers in his apartment at 28, rue de Grammont. He then spent a great deal of time publishing art books, which were less profitable but the true passion of his life. He supervised their publication from start to finish, working closely with the artist, engraver and printer, carefully choosing the paper, font, and binding and designing the layout.

Aristide MaillolWoman sat on her heels© RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski

About 1924, Vollard moved his art dealing and publishing business into a building in the rue de Martignac, in the Faubourg Saint Germain. Most of his huge collection remained hidden behind closed doors. On 22 July 1939, Vollard was involved in a road accident on his way to his property at Tremblay sur Mauldre. The exact circumstances of his death are unclear, but his neck may have been broken by a copperplate or a sculpture by Maillol falling from the back shelf of the car. It is a tragic irony that his death may have been caused by a work of art. He was seventy-three. The subsequent dispersal of his collection is a story in itself. As no exact inventory was made, nobody knows how big it really was. Estimates range from five to ten thousand works. Some were found in the hands of a young Yugoslav adventurer; others were sold during the war or have simply vanished.



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World of Furniture


Heilig-Meyers Furniture Company       Giving Back To The Community

The Heilig-Meyers promise to the thousands of families who live with Cystic fibrosis is that we will be with them until a cure is found.

Heilig-Meyers is proud to have supported the life-saving and life-extending work of the Cystic Fibrosis Foundation (CFF) since 1985. The Foundation, founded in 1955, leads the effort to find a cure for the most common, fatal, genetic disease in the United States – cystic fibrosis. Our support for CFF has involved hundreds of our associates and their families, reminding all of us how much we can accomplish when people work together. Heilig-Meyers’ commitment to the Cystic Fibrosis Foundation has resulted in over $9 million for the cause.

Approximately 1,000 children are diagnosed with the disease every year. Cystic fibrosis affects the digestive and respiratory systems, causing the body to produce an abnormally thick, sticky mucus. This obstructs the pancreas, preventing normal food digestion, and clogs the lungs leading to fatal infections.

Scientific discoveries put us closer than ever to finding a cure, thanks to the Foundation. Life expectancy for CF victims has increased from 12 to 30 years over the past two decades. In a 1989 landmark discovery, scientists supported by the CFF identified the gene that causes the disease. This has led to gene research breakthroughs that one day will lead to a cure.

We thank you for taking time to learn about this deadly, yet little-known disease and encourage you to learn more by contacting the Cystic Fibrosis Foundation at 1-800-FIGHT-CF, or visiting their web site at

Reichart Furniture

Reichart Furniture
Founded : 1917
Activities : Retail furniture collection, home furnishings, interior design services
Parent Company : Heilig-Meyers Co.
Stockists : NA locations
Origin : Wheeling, WV


By 1992 Heilig-Meyers had set a goal of 50 new stores a year. In that year it acquired 13 stores from Gibson McDonald Furniture Co. for $13.7 million, four stores from Reichart Furniture Corp. for $739,000, and 14 stores in Pennsylvania and West Virginia from Wolf Furniture Enterprises for $6.8 million. Of Heilig-Meyers’s 401 stores, 60 percent were less than four years old. There were five distribution facilities, each designed to serve between 90 and 125 stores within a 200-mile radius.

Heilig-Meyers purchased Carlsbad, California-based McMahan’s Furniture Co. for $65 million in 1993. This acquisition added 92 stores: 65 in California, 12 in Arizona, seven in New Mexico, four in Texas, three in Nevada, and one in Colorado. The company entered the Chicago area by purchasing 11 L. Fish stores. This acquisition of Fish’s four downtown and seven suburban stores was a departure from the company’s traditional focus on smaller markets, but DeRusha said they were a good geographic fit for Heilig-Meyers, which had been expanding in the Midwest. Also in 1993 the company began sponsoring a NASCAR racing team.