Sally Caldwell Fisher Blown Off Course

Name: Sally Caldwell Fisher Blown Off Course Limited Edition
Brand: Sally Caldwell Fisher
SKU: CVSFCOURSE
Price: 1475 USD
Availability: InStock
Rating: 5 (3 reviews)

Price: $ 1,475.00 USD..

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9/18/2025 $491.67 1st payment
10/18/2025 $491.67 2nd payment
11/17/2025 $491.67 3rd & final payment
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Available for purchase today, September 18, 2025 No Sales Tax Except In The State Of Florida. All products are shipped from our US Warehouses. For U.S. & Canadian Customers

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Art Terminologies

Giclée - A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques

Lithography - Printing technique using a planographic process in which prints are pulled on a special press from a flat stone or metal surface that has been chemically sensitized so that ink sticks only to the design areas and is repelled by the non-image areas. Lithography was invented in 1798 in Germany by Alois Senefelder.

Serigraphy (Silk-screen) - A printing technique that makes use of a squeegee to force ink directly onto a piece of paper or canvas through a stencil creating an image on a screen of silk or other fine fabric with an impermeable substance. Serigraphy differs from most other printing in that its color areas are paint films rather than printing ink stains.

Remarque – Additional enhancements by the artist on some or all of the final prints within an edition

Artist's Proof (AP) - Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by its French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.

“Gallery wrapped” is a way of finishing a canvas artwork so it’s ready to hang without needing an additional frame. The canvas is stretched tightly over thick wooden stretcher bars, and the edges of the canvas are wrapped around the sides and stapled on the back.

Stretched - When a canvas is described as stretched, it means the artwork has been pulled tightly over a wooden frame (called stretcher bars) and secured on the back. This process keeps the canvas flat and smooth, ready to hang on the wall or to be placed inside an outer frame.

Hand Embellished - When an artwork is hand embellished, the artist (or a skilled studio artisan) personally adds paint, texture, or other details by hand on top of the printed or finished piece. This gives each artwork unique highlights and depth, making no two pieces exactly alike — even within the same edition.

… learn more Click here for more Art Terms

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Sally Caldwell Fisher Blown Off Course is eligible for 3 equal layaway payments in store, with a credit card of $491.67 made every 30 days over a period of three months. US & Canada orders only.

Bringing coastal New England charm to fine art, these nautical-themed paintings capture the vibrant life and nostalgia of seaside villages, harbor towns, and maritime traditions. Featuring expressive brushwork and lively waterfront compositions, each piece tells a story of coastal life, from bustling docks to serene sailboat-filled harbors. Infused with warmth, humor, and rich detail, these works embody timeless coastal nostalgia, celebrating Americana and traditional maritime culture. Whether depicting colorful fishing villages, scenic harbors, or peaceful seaside moments, these classic maritime-inspired paintings transport viewers to a world of seaside beauty and storytelling through art.

Blown Off Course, Hand-Pulled Serigraph on Paper - CVSFCOURSE

NOTES: Blown Off Course, Hand-Pulled Serigraph on Paper.

Blown Off Course by Sally Caldwell Fisher is signed by the artist and comes with a certificate of authenticity.

Sally Caldwell Fisher bio

I was born in 1951, in Philadelphia. My sisters and brothers and I grew up in Birmingham , Michigan. Our mother was a gifted watercolorist who never had the time to pursue her own creative passion. She transferred those desires to my sister and me, who took them up almost dutifully. Our mother provided us with good materials, for which I will always thank her, as some of the real magic of painting is released through the alchemy of paint and surface. Over the years, my style has evolved consistently, as I have evolved. Change and openness are essential to the creative spirit. I can never adequately describe my art , as it defies easy categorization. Much of it has reflected coastal New England life with an emphasis on the marine. My children were brought up in a Maine fishing village out of which my husband ran a boat fishing for lobster, bluefin tuna, urchins, and other exotic and magical creatures of the deep. All the time spent on the water has deeply affected my work. My experiences in the world of art publication led me to branch out and explore the world of the narrative as inspired by old photographs. This offers a rich and limitless vein of possibility. I never tire of probing into the past for inspiration. I also started to create art for events, such as the America s Cup races, the Wooden Boat Shows, various parades and festivals, even the Monte Carlo Circus. My love for the artless self-composition of interacting figures and human body language have always led a light-hearted humor to the paintings, which have sometimes been called "naÃ¯ve." The word "naÃ¯ve" has always troubled me because I do not feel naÃ¯ve. I often feel pretty cynical and let down. But I do feel a genuine affection for the people I invite into the paintings, people who are simply part of the composition, going about their business unawares, as if in snapshots. Now, in midlife, I have experienced quite a bit of loss and change. So much so that it would be disingenuous not to change in my art .. I am returning more to landscape out of love for the beauty of the world around me. The human presence is, of course, always implied at the very least. I desire to be a strong unseen presence, involved in the scene before me. Still, never far from the whimsical, I love to paint animals and objects and people. I am more interested in being eclectic than in being easily categorized. I am no classical artist. I am a painter whose work is her greatest source of well-being.