The Clare family were Victorian artists who specialized in, and became famous for, their highly finished and precisely detailed fruit and flower paintings. The family consisted of George (1835 - 1900) and his three sons David (born 1870), Oliver (1853 - 1927) and Vincent (1855 - 1930) - all, except David, were artists.

George lived and died in Barnet, Hertfordshire - although it is known that he spent a number of years in Birmingham - evidenced by the fact that his address is given as 173, Bristol Street, Birmingham for the paintings he exhibited during the 1860’s. As to George's artistic training, one is not sure, however his delicate stippling technique and choice of subject matter – still-lives painted against a mossy bank - are derived from the oil and watercolorist William Henry Hunt (1790-1864).

While Oliver lived in Birmingham a local health firm ‘Health Food Stores’ commissioned him to paint still-lives so they could be reproduced on postcard and posters.

Grant M. Waters, in his book Dictionary of British Artists working 1900 - 1950, states that: "He [Oliver] was particularly gifted with animals. He taught his dog to stoke the fire and collect fruit from the greengrocer. On the night he died [(in 1927)], he sang 'Abide with me'. His dog died the same night."

Oliver exhibited many paintings during his lifetime and is most associated with the West Midlands and the North - showing 18 works at the Royal Society of Artists,

Birmingham; 3 at the Walker Art Gallery, Liverpool and 6 at the Manchester City Art Gallery. During the late 1870's and early 1880's he lived in London and exhibited works at the Royal Academy and the Royal Society of British Artists, Suffolk Street.

The youngest artist of the family was Vincent Clare. He was born in1855 and spent most of his life in London at Fern Cottage, Nursery Road, Southgate (one will often find that Vincent's paintings are signed and inscribed, with his address, on the reverse).

Like his father and brother he became quite popular with his still life and flower paintings. His technique was similar to his father's, however his brush strokes were slightly freer and he would, at times, work with more pastel colors.

It appears that although Vincent lived in London, he never exhibited there. The only recorded exhibitions were in the Walker Art Gallery, Liverpool where he displayed three works. It is believed that he did exhibit with his brother Oliver in the Midlands, but there are no records to substantiate this.

George’s works are very precise and detailed, displaying an influence from the Pre-Raphaelite artists who, among other things, were deeply concerned with capturing their subjects in microscopic detail. Among his contemporaries were Thomas Worsey (1829-1875), John Sherrin (1819-1896) and William Hull (1820-1880) – all specializing in finely detailed still-life paintings.

George exhibited his first works in 1864 - exhibiting at the Royal Academy #356 "Plums, etc."; the British Institution - #395 "Camellia, etc." and at the Royal Society of British Artists - #410 "Grapes, plums, etc." and #741 "Camellias &c.". He would continue to exhibit his works at these major halls until 1874.

Two of George's sons - Oliver and Vincent - were also artists and became quite famous for their fruit and flower paintings.

Reference:

Johnson, J., The Royal Society of British Artists: 1824 - 1893, Antique Collectors Club, 1975, pgs. 87-88.

Johnson, J. & Greutzner, A., The Dictionary of British Artists: 1880-1940

Antique Collectors Club, 1976, pg. 107

Maas, Jeremy, Victorian Painters, Barrie & Rockleff, The Cresset Press

London, 1969, pg. 173

Mitchell, Peter, Great Flower Painters: Four Centuries of Floral Art, George Rainbird, Ltd., London, 1973, pg. 89-90 (ill).

Pavière, Sydney H., A Dictionary of Flower, Fruit, and Still Life Painters, F. Lewis, Ltd., England, 1964, pg. 29 (ill.)

Waters, Grant M., Dictionary of British Artists Working 1900 - 1950, Eastbourne Fine Art Publishers, England, 1975, pgs. 65-66.

Wood, Christopher, The Dictionary of Victorian Painters, Antique Collectors Club, England, 1995, Vol. 1, pg. 100; Vol. 2, pg. 158 Illustration.