Equestrian Watercolour Pat Smythe & Finality Leading Showjumper 1949
S. Myndas, Pat Smythe and Finality — Leading Showjumper of the Year, 1949
A Signed Post-War British Equestrian Watercolour
Follower of Lionel Edwards, with Salon des Artistes Français Stamp Dated 1956
Highlights
• Original signed watercolour commemorating Pat Smythe’s historic 1949 victory.
• Depicts Smythe and Finality suspended above a showjumping fence.
• Signed, titled and dated by S. Myndas.
• Finality was the 15-hand bay mare ridden to victory at the first Horse of the Year Show.
• Pastoral interpretation inspired by the traditions of British equestrian painting.
• Catalogued stylistically as Follower of Lionel Edwards.
• Salon des Artistes Français stamp dated 1956 retained on the reverse.
• Historic Rowley Gallery Ltd., Kensington, label.
• By-repute provenance connecting the painting with Pat Smythe.
• Professionally reframed using conservation-grade materials.
Introduction
Pat Smythe and Finality celebrates one of the defining partnerships of post-war British showjumping.
Painted and signed by S. Myndas in 1949, the watercolour presents Smythe and Finality clearing a fence in perfect balance. It commemorates the year in which the reunited pair won Leading Showjumper of the Year at the inaugural Horse of the Year Show at Harringay Arena.
Myndas does not reproduce the indoor competition setting. Horse and rider instead appear against an open pastoral landscape, connecting their modern sporting achievement with the established visual language of British equestrian art.
Fine pencil drawing and luminous washes give the composition clarity, movement and a sense of air around the jumping pair.
Catalogue Details
Artist: S. Myndas.
Title: Pat Smythe and Finality.
Date: 1949.
Medium: Watercolour with pencil on paper.
Subject: Pat Smythe riding Finality.
Classification: British equestrian and sporting art.
Stylistic designation: Follower of Lionel Edwards.
Inscription: “Pat Smythe / Finality / 1949 / S. Myndas.”
Verso documentation: Rowley Gallery Ltd., Kensington, label.
Additional mark: Salon des Artistes Français stamp dated 1956.
Frame: Larson-Juhl gold-leaf spoon-profile moulding.
Mounting: White and gold double conservation mount with acid-free backing.
Glazing: AR70 anti-reflective, UV-protective glass.
Catalogue Note
The composition is organised around the powerful diagonal created by Finality’s jump.
The mare’s head, neck and body describe a controlled arc above the obstacle. Smythe follows the movement closely, maintaining a low and balanced position over the saddle.
The pencil underdrawing remains integral to the finished work. It establishes the anatomy of horse and rider, while transparent colour washes introduce the warm bay coat, riding clothes, landscape and atmospheric sky.
Myndas avoids excessive detail, allowing unpainted and lightly washed areas of the paper to contribute brightness and a feeling of movement.
The result is both sporting portrait and lyrical commemoration: an interpretation of partnership rather than a literal reconstruction of the indoor championship.
Finality
Finality was a compact 15-hand bay mare remembered for her athleticism and partnership with Pat Smythe.
Before entering showjumping, she had reportedly been used to pull a milk float. Smythe’s patient schooling helped reveal her considerable ability, and the partnership brought the young rider to the attention of British team selectors.
After Finality was sold, horse and rider were separated for more than a year. Her new owner later asked Smythe to ride her at the inaugural Horse of the Year Show.
The reunion produced one of the best-known results in the event’s history. Smythe and Finality won Leading Showjumper of the Year in 1949, restoring a partnership that had already shaped Smythe’s early international career.
Pat Smythe
Pat Smythe was born in 1928 and developed into one of the leading figures of British post-war showjumping.
Her victory with Finality at the first Horse of the Year Show established her national reputation. She returned to win the Leading Showjumper title in 1958 and 1962.
In 1956, Smythe became the first British female showjumper to compete at an Olympic Games. Riding Flanagan at Stockholm, she helped Great Britain secure team bronze alongside Wilfred White and Peter Robeson.
She competed again at the 1960 Olympic Games and enjoyed an extensive international career that included Nations Cup victories, European women’s championships and British national titles.
Beyond competition, Smythe became a successful writer of equestrian books and stories, extending her influence to generations of young riders.
Horse of the Year Show, 1949
The first Horse of the Year Show was staged at Harringay Arena in North London in 1949.
Conceived as an indoor end-of-season championship, it brought together horses and ponies that had qualified through competition during the year.
The show combined jumping and showing classes and was intended to create a grand culmination to the British equestrian season.
Pat Smythe and Finality won Leading Showjumper of the Year on the second day. The victory became an important early chapter in the history of HOYS and in Smythe’s development as a national sporting figure.
S. Myndas
Very little reliable biographical information has presently been identified for S. Myndas.
The artist’s name appears within the lower inscription alongside the sitter, horse and date.
The painting demonstrates an informed understanding of equestrian anatomy and jumping technique. Its precise pencil drawing is softened by transparent washes and a broadly treated landscape.
These qualities place the artist within the British sporting watercolour tradition, although no documented connection with a particular school or established master has been found.
Follower of Lionel Edwards
Lionel Edwards was one of Britain’s most influential equestrian artists and sporting illustrators.
His work combined close observation of horses with economical draughtsmanship, atmospheric colour and recognisably British landscapes.
The present painting recalls those qualities in its controlled drawing, outdoor setting and restrained use of watercolour.
“Follower of Lionel Edwards” is used as a stylistic catalogue term. It does not assert that the painting was made by Edwards, copied directly from one of his works or produced by an artist connected with his studio.
The 1956 Salon Stamp
A stamp associated with the Salon des Artistes Français and dated 1956 appears on the reverse.
This mark is a significant part of the painting’s documentary history. It suggests that the work was submitted, processed or otherwise handled in connection with the organisation.
However, a stamp does not by itself prove that the painting passed jury selection or was displayed at the official Salon. No supporting 1956 catalogue entry has presently been located.
The painting is consequently described as bearing a Salon des Artistes Français stamp rather than definitively as Paris Salon exhibited.
Frame and Conservation Presentation
The watercolour has been newly framed in a Larson-Juhl gold-leaf spoon-profile moulding.
A white and gold double mount complements the colouring without competing with the composition. Acid-free backing and professional sealing provide an archival-quality presentation.
AR70 anti-reflective glass reduces glare, improves clarity and provides UV protection.
The complete framed work is ready for display within a library, study, drawing room or collection of British sporting art.
Provenance
Signed and dated by S. Myndas in 1949.
The Rowley Gallery Ltd., Kensington, label on the reverse.
Salon des Artistes Français stamp dated 1956.
Private collection, The Maltings, Gloucestershire.
By repute, formerly owned by Pat Smythe, as recorded on a verso label.
Privately loaned and exhibited in “Pat Smythe and the Post-War Equestrian Renaissance.”
Famous Lord Hill Museum, Shropshire, 2023.
Curated by Cheshire Antiques Consultant LTD®.
Dimensions
Framed width: 71 cm / approximately 28 inches.
Framed height: 60 cm / approximately 23.6 inches.
Framed depth: 4.5 cm / approximately 1.8 inches.
Measurements are approximate.
Condition Report
The watercolour is in excellent overall visual condition.
Its colours remain bright, and the paper appears stable, with no significant foxing or fading reported.
The work has been professionally remounted and newly framed using conservation-grade, acid-free materials.
The Larson-Juhl gold-leaf frame, double mount and AR70 protective glass are in pristine presentation condition.
Please refer to the detailed photographs, which form an important part of the condition assessment.
Shipping
Worldwide shipping is available.
The framed painting will be professionally packed, fully insured and sent using an appropriate tracked service. Particular care will be taken to protect the glazing, frame and paper artwork.
Additional photographs, condition information and individual international shipping quotations are available upon request.
Attribution & Research Notice
The attribution, dating, subject identification, provenance research and historical interpretation contained within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®.
The identification of S. Myndas, Pat Smythe, Finality and the date 1949 is based upon the visible inscription. “Follower of Lionel Edwards” represents a comparative stylistic assessment and does not imply a personal or studio association with Edwards. The 1956 Salon des Artistes Français stamp indicates an administrative connection but cannot independently confirm acceptance or exhibition. Former ownership by Pat Smythe remains by repute.
As with all works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.
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Specialising in carefully curated British and European fine art, antiques and historic works of art.
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