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This page belongs to greg krenzelok.


Coats of arms: The unit crest shield is yellow for Cavalry. The bend charged with the alerions, taken from the arms of Lorraine, is representative of World War I service and is red to indicate that the 107th Cavalry served as Field Artillery during World War I. The Roman Sword in sheath is for Spanish-American War service and the cactus for Mexican Border duty. The motto translates to “To Act, Not To Speak.”

Howard E. Smith, was a notable painter living in Carmel, California at the beginning of World War 2. (Collection of Liz Rondelle, use only with permission)

Howard E. Smith, signed lithograph, 1942. (Collection of Liz Rondelle, use only with permission)

I'm thrilled to send you for posting a wonderful find concerning the 107th Cavalry, courtesy of Liz Rondelle of Carmel by the Sea, California.

Liz's grandfather, Howard E. Smith, was a notable painter living in Carmel at the beginning of WWII (see bio below). In 1942, he produced some lithographs of Fort Ord's 107th Horse-Mechanized Cavalry in action. As you well know, the 107th was stationed at Fort Ord to patrol the Monterey Bay beaches for Japanese invasion, and these lithographs depict not only saddle and pack horses, but the mechanized components of the unit: the portees (horse trailers), motorcycles, tanks, trucks, and jeeps. The unit's radio gear and guns are also shown.

Liz believes it may have been Smith's son-in-law (her uncle), Lt. Leland Cagwin, who encouraged Smith to paint the 107th. Cagwin came to Fort Ord fresh out of West Point. He went on to become a major general and Distinguished Service Cross recipient for heroism at Guadalcanal. Liz doesn't have information as to where exactly these lithographs were painted, but I wonder if it may have been Carmel Highlands, judging by the trees and terrain.

This artwork has come into the spotlight in a roundabout way. Last week, after seeing the Monterey Herald's front-page coverage of Friends of the Fort Ord Warhorse's 2nd Annual Warhorse Day Celebration (April 15, 2012), Liz contacted the newspaper to tell them about her grandfather's historical lithographs. Reporter Kevin Howe put me in touch, and Liz kindly invited me over to see and photograph her treasures. I want to thank Liz Rondelle for sharing her grandfather's beautiful work and for her gracious permission to post photos of these copyrighted lithographs.

Margaret Davis
Executive Director
Friends of the Fort Ord Warhorse

Howard E. Smith, signed lithograph, 1942. (Collection of Liz Rondelle, use only with permission)

Howard Everett Smith was born in West Windham, New Hampshire. His mother encouraged his interest in art, and he studied both drawing and watercolor at an early age. One of his earliest instructors was a veterinarian, who had Smith closely study the anatomy of his subjects. This was to stand him in good stead, as he later became recognized as a master of portraiture.

In 1899, his family moved to Boston. He attended the Boston Latin School before continuing his art studies, first at the Art Students' League in New York and then two years with Howard Pyle. Returning to Boston in 1909, he studied with Edmund Tarbell at the School of Art of the Boston Museum.

Having been awarded the Paige Traveling Scholarship in 1911, he left for Europe. The scholarship enabled him to study and travel throughout Europe for two years. Smith financed an additional year's travel through his profitable and long time association with Harper's Monthly Magazine.

In 1914, he returned to the United States and began teaching at the Rhode Island School of Design. Here he met Martha Rondelle, whom he married later that year. They were to have three children, Jeanne, Jacqueline, and Howard E. Jr.

Smith's career took off in the teens and twenties. He won numerous prizes including the Hallgarten Prize in 1917 and the Isidor Medal in 1921, both from the National Academy. In the twenties, he and his family spent many of their summers in Rockport and Provincetown. He was one of the founders of the Rockport Art Association. While in Provincetwon, the family became friends with Eugene O'Neill, who asked Smith to illustrate his first published play.

In 1936, the Smith family visited Carmel and in 1938 settled there. His work continued to be exhibited on the East Coast, while he became actively involved in the local art community of the Monterey Peninsula. He served on the board of directors of the Carmel Art Association from 1942 to 1949 and again in 1963 and 1964.

After his wife's death in 1948, he moved to Mexico for a number of years, often spending the summers in Carmel. Eventually, he returned to Carmel permanently.

Smith was an American impressionist who was known for his illustrations, his portraits, and his equine paintings. He worked not only in oil and watercolor, but did a variety of graphics, often using as subject matter the horses and cowboys of the West.

During World War II, he did prints of the horses in the Sierras. He also painted the horses of Fort Ord.

Liz Rondelle

Source: "Our First Five National Academicians," Carmel Art Association, 1989

Credit: Howard E. Smith, signed lithograph, 1942. Collection of Liz Rondelle

Advertising for the 107th Cavalry lithographs by Howard E. Smith in the Fort Ord Panorama, July 31, 1942. DLIFLC & POM Archives

Authors Notes:

Dear Greg
Thank you so much for the newspaper article--our family has tried to keep careful track of all newspaper articles, etc. concerning my grandfather's work. And we didn't have this one…there is little documentation nor stories about his work in Ft. Ord. I'm so glad that these lithos have found a good home, that there are people that appreciate them. Who would have known that soon after this warhorses would passe? That he was documenting a bit of history? I'm sure he didn't know it at the time. However, he knew that the way of the pack horses, mule trains in the Sierras would be forever changed after the war. So, he went to the Sierras several times, painting, making lithographs so that way of life would be documented.

Some of those are quite lovely.

As you saw from the bio my grandfather specialized in painting horses. During the depression he supported his family as an artist (not an easy feat) by going to the south and painting, making lithos of the race horses.

My grandfather certainly had a talent--and he was a classic "gentleman" in the truest meaning of the word. There aren't too many artist that could support a family during the depression as an artist. A very Interesting life full of good stories and experiences. ). I would love to have a picture of my grandfather on this site. Do you know when he was a young man/artist that color lithos were the "new" techy thing? How much has changed in the last 100 years…He and Pyle thought they were at the cutting edge...

Anyway, thanks for the newspaper article.

I'm sure we'll all keep in touch.

Can you tell me how the lithos work? Do you first paint an original? Is the proper name lithos or lithographs? Where did your grandfathers originals go?


Lithos (short for lithography) are a very old form of printing--about 400 years. Basically, a smooth stone is taken, waxes and oils are applied, the artist directly draws in them, then it is put in a press with paper, and the image is transferred. Color is basically several prints on the same paper. Prints usually mean using metals and the artist carving into the metal, The inks are applied, going into the groves, put in a press with paper, and the image is transferred.

An advantage to this process is that you make as many as you want. (basically) And such it is more affordable for the customer. (an oil painting--only one) My grandfather had always done prints but during the war turned to them more and more. He could make less money but more--if you can follow that train of thought. He lived in Carmel during the war. The only print studio was in S.F. So he would save up gas coupons, with another artist, and they would go up there to work. The 107th was definitely printed in S. F.

So--there are no originals for printmaking. Every print out there is a type of original. What artist can do to conserve the value is only print a "limited edition" which means that there are a certain number and more won't be printed. The Japanese use wood for printing. Alot of carving!

Hope this answers your question.


Click on the below link:

Walter J. Schweitzer Troop “C” 107th Cavalry Horse/Mechanized, Fort Ord, Dec. 1941

107th Horse/Mechanized Cavalry Website

Jo Mora Renowned Artist: C.M.T.C. Camp, Del Monte, California 1920’s

The 76th Field Artillery’s Role in Cecil B. Demille’s 1923 Movie

The Fort Ord Station Veterinary Hospital (Horse) WW2

Veterinary Corps in WW1

Home page for Leonard Murphy in WW1


Motto: “Illic est Vires in Numerus” There is Strength in Numbers

“Working Hard to Preserve Our Country’s History wherever it is being lost”

U.S. Army Veterinary Corps Historical Preservation Group is a group of individuals that are concerned about the preservation of the History of the Veterinary Corps, Remount Service and Cavalry or wherever our country’s history is being lost in conjunction with our beloved “Horse and Mule”. There is no cost to join and membership is for life. We believe by uniting together in numbers we will be a more powerful force to be heard. Our membership list is private and only used to contact our members. Email us and become a member.

Greg Krenzelok

FACEBOOK: U.S. Army Veterinary Corps Historical Preservation Group

Click on the below link:

U.S. Army Veterinary Corps Historical Preservation Group