Cozzens Robbins Reef


Frederic S. Cozzens. “Robbins Reef–Sunset. Albertina, Lady Emma, Valiant, Lita.” From American Yachts, Their Cups and Races. New York: Charles Scribner & Sons, 1884. 14 1/2 x 20 3/4. Chromolithograph by Armstrong & Co. Image mounted to backing board, as issued. Very good condition. Ref: Anita Jacobsen, Frederic Cozzens: Marine Painter, 1982.

SKU: 17-2019 Categories: , , ,


A lovely image from a series of yacht racing prints by Frederic S. Cozzens (1856-1928), who is considered to be one of the best American nineteenth century marine illustrators. Known best for his depiction of yachting scenes, Cozzens drew all types of watercraft. He is known to have sketched marine scenes as early as 1868. Cozzens contributed many illustrations to such publications as Harper’s Weekly, The Daily Graphic, and Frank Leslie’s Illustrated Magazine. Cozzens also exhibited at the New York Watercolor Society. In 1880 the New York Yacht Club commissioned a set of six watercolors which are still hanging in the club today. By 1883, Cozzens was a well established marine illustrator, and decided to turn his watercolors into prints. His first publication was American Yachts, Their Clubs and Races, which contained 27 chromolithographs. These views are considered to be Cozzens’ finest work, vividly conveying the atmosphere and thrill of the yacht races they depict. The set included twenty-five scenes of yachting activity, a signal chart featuring the flags of sixty-six yacht clubs, and an extra plate (which must have been included at the last possible moment) of the 1885 America’s Cup race between Puritan and Genesta. Cozzens’ work was so well received that he produced four other series of prints: Typical American Yachts (1886); Yachts and Yachting (1887); Our Navy, Its Growth and Achievements (1892); and Old Naval Prints (1892). By the turn of the century, Cozzens turned to drawing more beach scenes, seascapes and European vessels than he did yachting scenes, but it is for the latter which he is most famous. This print wonderfully conveys the realism and vividness of Cozzens’ best work.