George Denholm Armour (1864-1949)
G D Armour was born in Lanarkshire and undertook his art training at the Edinburgh School of Art and at the Royal Scottish Academy. Between 1896 and 1941 Armour contributed around 1500 cartoons to Punch. His main preoccupation was sporting subjects, both in the drawings he submitted to Punch and in the works he exhibited regularly at the Royal Academy, the Fine Art Society and the Royal Scottish Academy.
Sir Owen Seaman (editor of Punch from 1906 to 1932) was moved to inform ‘Armour in 1929 that people were more interested in motor-cars than in horses.’ In fact, Armour had tackled this new and modern form of horsepower on at least two occasions prior to this date. Seaman’s words seemingly fell on deaf ears, ‘Armour’s pictures were as frequent and horsey as before.’ (Price, 1957).
Collections
Edinburgh College of Art
Glasgow Art Gallery
Scottish National Portrait Gallery, Edinburgh
Victoria and Albert Museum
Sources and further reading
Bryant M and Heneage S (1994), Dictionary of British Cartoonists and Caricaturists 1730-1980, Scolar Press
Dolman B (1981), A Dictionary of British Artists, 1929, Antique Collectors’ Club
Johnson J and Greutzner A (1999), British Artists 1880-1940, Antique Collectors’ Club
Mallalieu H L (1988), The Dictionary of British Watercolour Artists, Antique Collectors’ Club
Price R G G (1957), A History of Punch, Collins
Spalding F (1990), 20th Century Painter and Sculptors, Antique Collectors’ Club
Waters G M (1975), Dictionary of British Artists 1900-1950, Eastbourne Fine Art
G D Armour was born in Lanarkshire and undertook his art training at the Edinburgh School of Art and at the Royal Scottish Academy. Between 1896 and 1941 Armour contributed around 1500 cartoons to Punch. His main preoccupation was sporting subjects, both in the drawings he submitted to Punch and in the works he exhibited regularly at the Royal Academy, the Fine Art Society and the Royal Scottish Academy.
Sir Owen Seaman (editor of Punch from 1906 to 1932) was moved to inform ‘Armour in 1929 that people were more interested in motor-cars than in horses.’ In fact, Armour had tackled this new and modern form of horsepower on at least two occasions prior to this date. Seaman’s words seemingly fell on deaf ears, ‘Armour’s pictures were as frequent and horsey as before.’ (Price, 1957).
Collections
Edinburgh College of Art
Glasgow Art Gallery
Scottish National Portrait Gallery, Edinburgh
Victoria and Albert Museum
Sources and further reading
Bryant M and Heneage S (1994), Dictionary of British Cartoonists and Caricaturists 1730-1980, Scolar Press
Dolman B (1981), A Dictionary of British Artists, 1929, Antique Collectors’ Club
Johnson J and Greutzner A (1999), British Artists 1880-1940, Antique Collectors’ Club
Mallalieu H L (1988), The Dictionary of British Watercolour Artists, Antique Collectors’ Club
Price R G G (1957), A History of Punch, Collins
Spalding F (1990), 20th Century Painter and Sculptors, Antique Collectors’ Club
Waters G M (1975), Dictionary of British Artists 1900-1950, Eastbourne Fine Art