This nocturnal scene depicts a bare-breasted sorceress concocting her evil brew in the company of bizarre beasts. She stands within a "magic circle" scratched into the ground, the supernaturally consecrated space for witchcraft-a likely inspiration for the circular forms of Rosa's paintings. She overturns a horn into her cauldron engulfed in billowing flames; mixing with the powder are two streams of ash that spew forth from pipes held in the anus of a somersaulting demon at left. The swirling, decorative composition and the variety of grotesque creatures making knowing and silly faces at the viewer add elements of whimsy and farce to the ostensibly serious, occult subject.

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging.

Ready To Hang - Mounting hardware comes attached.

• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.
• Sizes Reference the Canvas Inside the Frame.

This nocturnal scene depicts a bare-breasted sorceress concocting her evil brew in the company of bizarre beasts. She stands within a "magic circle" scratched into the ground, the supernaturally consecrated space for witchcraft-a likely inspiration for the circular forms of Rosa's paintings. She overturns a horn into her cauldron engulfed in billowing flames; mixing with the powder are two streams of ash that spew forth from pipes held in the anus of a somersaulting demon at left. The swirling, decorative composition and the variety of grotesque creatures making knowing and silly faces at the viewer add elements of whimsy and farce to the ostensibly serious, occult subject.  

Rectangle Framed Art Print

• Ready To Hang - Wire hanger attached
• Professionally finished back
• Rubber Bumpers
• Sizes Reference the Print Inside the Frame
• Available in Black, White & Espresso colors

Rectangle Framed Art Print

Semi-gloss paper framed in 1 inch 100% real wood frames with a matte enamel finish. Framed prints have an archival, shatterproof plexiglass. Framed paper prints offer you a professional finish ready to elevate any space.

• Ready To Hang - Wire hanger attached
• Professionaly finished back
• Rubber Bumpers
• Sizes Reference the Print Inside the Frame
• Available in Black, White & Espresso colors

The Green Masque (1921)
Painting by Sir Oswald Birley (English, 1880-1952)

If you were a person of consequence in the 1920s, 1930s or 1940s, or wanted to choose a suitable portrait painter for a commission of an important member of society, then it is very likely that the artist you would place at the top of your wish list was Sir Oswald Birley (1880–1952).

A frequent subject of his paintings was his wife, Rhoda. Widely regarded as a beauty, she married Birley at the age of 20 when he was 41. The exhibition features a particularly beautiful portrait made by Birley soon after their marriage in 1921. Entitled The Green Masque, it depicts Rhoda in Venetian carnival attire, her alabaster face glowing against a dark background, her eyelashes demurely lowered.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

This nocturnal scene depicts a bare-breasted sorceress concocting her evil brew in the company of bizarre beasts. She stands within a "magic circle" scratched into the ground, the supernaturally consecrated space for witchcraft-a likely inspiration for the circular forms of Rosa's paintings. She overturns a horn into her cauldron engulfed in billowing flames; mixing with the powder are two streams of ash that spew forth from pipes held in the anus of a somersaulting demon at left. The swirling, decorative composition and the variety of grotesque creatures making knowing and silly faces at the viewer add elements of whimsy and farce to the ostensibly serious, occult subject.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

Mesmerism; Mind Reading. Magnetic Healing & Personal Magnetism
Book published in the 1930s by Johnson Smith & Company of Detroit Michigan

Artwork inspired by the cover of a vintage book called, "HYPNOTISM and SPIRITUALISM: How to Hypnotize". 

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Artwork inspired by the cover of a book called "HYPNOTISM and SPIRITUALISM: How to Hypnotize; Mesmerism, Mind Reading, Magnetic Healing & Personal Magnetism" published in the 1930s by Johnson Smith & Company of Detroit Michigan.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

Artwork inspired by the cover of a book called "HYPNOTISM and SPIRITUALISM: How to Hypnotize; Mesmerism, Mind Reading, Magnetic Healing & Personal Magnetism" published in the 1930s by Johnson Smith & Company of Detroit Michigan.

Rectangle Framed Art Print

Semi-gloss paper framed in 1 inch 100% real wood frames with a matte enamel finish. Framed prints have an archival, shatterproof plexiglass. Framed paper prints offer you a professional finish ready to elevate any space.

• Ready To Hang - Wire hanger attached
• Professionaly finished back
• Rubber Bumpers
• Sizes Reference the Print Inside the Frame
• Available in Black, White & Espresso colors

Artwork inspired by the cover of a book called "HYPNOTISM and SPIRITUALISM: How to Hypnotize; Mesmerism, Mind Reading, Magnetic Healing & Personal Magnetism" published in the 1930s by Johnson Smith & Company of Detroit Michigan.

Rectangle Framed Canvas

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.
• Sizes Reference the Canvas Inside the Frame.

If you were a person of consequence in the 1920s, 1930s or 1940s, or wanted to choose a suitable portrait painter for a commission of an important member of society, then it is very likely that the artist you would place at the top of your wish list was Sir Oswald Birley (1880–1952).

A frequent subject of his paintings was his wife, Rhoda. Widely regarded as a beauty, she married Birley at the age of 20 when he was 41. The exhibition features a particularly beautiful portrait made by Birley soon after their marriage in 1921. Entitled The Green Masque, it depicts Rhoda in Venetian carnival attire, her alabaster face glowing against a dark background, her eyelashes demurely lowered.

Rectangle Framed Canvas

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging.

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.
• Sizes Reference the Canvas Inside the Frame.

The Green Masque (1920)
by Sir Oswald Birley (England, 1880-1952)

 If you were a person of consequence in the 1920s, 1930s or 1940s, or wanted to choose a suitable portrait painter for a commission of an important member of society, then it is very likely that the artist you would place at the top of your wish list was Sir Oswald Birley.

A frequent subject of his paintings was his wife, Rhoda. Widely regarded as a beauty, she married Birley at the age of 20 when he was 41. The exhibition features a particularly beautiful portrait made by Birley soon after their marriage in 1921. Entitled The Green Masque, it depicts Rhoda in Venetian carnival attire, her alabaster face glowing against a dark background, her eyelashes demurely lowered.

Rectangle Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

Square Framed Art Print

Semi-gloss paper framed in 1 inch 100% real wood frames with a matte enamel finish. Framed prints have an archival, shatterproof plexiglass. Framed paper prints offer you a professional finish ready to elevate any space.

• Ready To Hang - Wire hanger attached
• Professionally finished back
• Rubber Bumpers
• Sizes Reference the Print Inside the Frame
• Available in Black & White Frame colors

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.
• Sizes Reference the Canvas Inside the Frame.

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with thick wood frame and glued wood core stretcher bars. All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.
• Sizes Reference the Canvas Inside the Frame.

Square Framed Art Print

Semi-gloss paper framed in 1 inch 100% real wood frames with a matte enamel finish. Framed prints have an archival, shatterproof plexiglass. Framed paper prints offer you a professional finish ready to elevate any space.

• Ready To Hang - Wire hanger attached
• Professionally finished back
• Rubber Bumpers
• Sizes Reference the Print Inside the Frame
• Available in Black & White Frame colors

Square Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with 3/4" thick wood frame and glued wood core stretcher bars.

All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

Square Canvas Wrap

Gallery quality canvas print displays vibrant artwork that is built to last. Printed with HP Latex Inks that are fade resistant. Inks are water based and solvent free so rest assured there are no harsh chemicals in your home. Assembled with 3/4" thick wood frame and glued wood core stretcher bars.

All canvas prints are wrapped and shipped in fitted packaging

• Ready To Hang - Mounting hardware comes attached.
• Leveling Bumpers Included - For wall protection.
• Semi-Gloss Print - Increased vibrancy of artwork.
• Beveled Wood Stretch Bars - Make frame less noticeable on front of canvas.
• Industrial Strength Staples - Ensure a tight fit that is sure to last.

"Chiroptera" [Vampire Bats] (1904)
plate 67 from Kunstformen der Natur by Ernst Haeckel

Ernst Haeckel (1834-1919) was a German zoologist and naturalist who described and named thousands of new species and created many terms used today in biology. His work of over one hundred illustrations of animals and sea creatures, Kunstformen der Natur ("Art forms in Nature"), would go on to influence the Art Nouveau artistic movement. 

This plate Chiroptera depicts the unique facial structures of various species of leaf-nosed bats, the family of bats which includes vampire bats. 

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Bellona Leading the Armies of the Emperor against the Turks (1600)
by Jan Muller (Dutch, 1571-1628)

The central, striding figure, Bellona (the Roman goddess of war), is said to be either the sister or the wife of Mars, god of war. The double-headed eagle of the Hapsburgs appears on the flag behind her. Born in Amsterdam, Jan Muller probably learned engraving from his father, Harman Muller, a printmaker and publisher. He traveled to Italy in the 1590s and presumably stopped in Prague along the way. There he made prints based on designs by artists employed at the Hapsburg court, including Bartholomeaus Spranger (1546–1611).

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

The Four Horsemen, from The Apocalypse (1498)
Engraving by Albrecht Dürer (German, 1471-1528)

In 1498 Dürer published a book illustrating the Revelation of John or the Apocalypse of John, the last book of the New Testament. The images were unique in their large scale, breadth of concept, and unity of design. The first book to be both published and illustrated by the artist, it comprised a title page and 15 full-sheet woodcuts featuring text on the verso of all the sheets except the last one. Often visible through the paper, the text mars the image on the recto of the sheet. The finest impressions were most often printed without text, like this one of The Four Horsemen. Here, Dürer suggested the vigorous momentum of the horsemen through the windblown clothing of the riders, the windswept clouds, and the figures trampled beneath the hooves of the approaching horses.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Skeletons, also known as Allegory of Death and Fame (1518)
by Agostino Veneziano (Italian, 1490-1540)

Although for centuries scholars have attempted to understand the allegorical meaning of this print, 16th-century artist and author Giorgio Vasari described it simply as “an anatomy of desiccated nudes and of bones of the dead.” A central figure of winged Death stands over an interred skeleton, surrounded by a variety of skeletal and living human figures who appear to debate the fate of the soul. At far left is a “marasmic” man, a type of sun-dried body used by anatomists to study the muscles without removing the skin. Rosso Fiorentino, who designed the composition of this print to be engraved by Agostino Veneziano, was a Florentine contemporary of Michelangelo who planned a book on anatomy that was never published.

Matte Poster

Printed with dye/pigment reactive ink on archival matte paper shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Flight of Fancy... Off for the Sabbot (1927)
by William Mortensen (United States, 1897-1965)

In a roll call of the pioneers of modern photography, one name is never invoked. From the late 1920s to the 1950s, William Mortensen was one of the most famous and celebrated photographers in America. However, his subject matter – which veered towards the savage, indecorous, gothic and grotesque – as well as his use of montage and illustration, made him a pariah among the puritanical new guard in photography, led by Ansel Adams, who tried to write him out of history, and even called him "The Antichrist". 

Mortensen’s methods often made it hard to distinguish whether the results were photographs or not. He used traditional printmaking techniques, such as bromoiling, and developed many of his own. He would create composite images, scratch, scrape and draw on his prints, then apply a texture that made them look like etchings, thereby disguising his manipulations. Consequently, every print was unique. Ultimately, Mortensen’s aim was to create something that, for all intents and purposes, appeared to be a photograph, yet portrayed scenes so fantastic they caused wonder and astonishment in the viewer.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

The Lady of Shalott (1888)
Painting by John William Waterhouse (English, 1849-1917)

The Lady of Shalott is a poem by Alfred Tennyson, written 50 years before Waterhouse painted this picture. The Lady of Shalott is cursed and forced to stay in a tower. She is only allowed to look at the world through a reflection in the mirror. One day, she sees a knight, Sir Lancelot, and falls in love with him. She ignores the curse and leaves the tower to find him, which results in her death. Lady of Shalott’s story can be read as a warning about female desire. Victorian society had strict rules and expectations for women that defined ‘acceptable’ behavior.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Lilith (1889)
by John Collier (England, 1850-1934)

The apparent sweetness of this work by John Collier, a Pre-Raphaelite painter, is a wonderful testimony of the two sides of Lilith’s figure. Juggling between the images of sensuality, beauty, and that of a cold murderess, Collier is one of the artists that has transformed her image. From the Assyrio-Babylonian goddess, later known as the first woman in Jewish mythology, Lilith slowly turns into a powerful icon.

The contrasting colors of the painting, and its warm palette, further enhance the atmosphere that emerges from the work. This use of the colors, in Lilith as well as in Collier’s other portraits, earned him a certain recognition from his contemporaries. Seen as solemn, his work, however, offers an obvious mastery of tones and light.

Eventually, the figure of Lilith evolves gradually from the dangerous demoness depicted by the religious writings to a symbol of sensuality, but also of feminism. By her aspect of being equal to Adam, from whom she does not depend, the succubus becomes a feminist icon, a perfect opposition to Eve’s figure. Many powerful, sometimes feared, historical and mythological female figures are associated with snakes. These include Cleopatra and Medusa, whose association with snakes makes them desired, sensual, or monstrous.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

Witches' Sabbath [El Aquelarre] (1798) 
Painting by Francisco Goya (Spanish, 1746-1828)

Witches' Sabbath shows the Devil in the form of a garlanded goat, surrounded by a coven of disfigured, young and aging, witches in a moonlit barren landscape. The goat possesses large horns and is crowned by a wreath of oak leaves. On the right, an old crone can be seen holding an extremely starved looking, but apparently still living, infant in her hands, while a younger witch to her right does the same with a healthier looking child, implying they will follow the same fate. The Devil seems to be acting as a sort of priest at an initiation ceremony for the children, although popular superstition at the time believed the Devil often fed on children and human fetuses. The dead body of an infant can be seen discarded to the left, whereas the legs of another can be seen held down with force to the ground by a presumably younger witch in the center foreground. More witches, young and old, can be seen in the background, as well as three dead infants, apparently manacled, hanging from the neck on a stake to the left in the distance.

Typical of the imagery of witchcraft, many of the symbols used are inverted. The goat extends his left rather than right hoof toward the child, while the quarter moon faces out of the canvas at the top left corner. In the middle high-ground, a number of bats can be seen flying overhead, their flocking motion echoing the curve of the crescent moon.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

The Four Witches (1497)
Engraving by Albrecht Dürer (German, 1471-1528)

Dating from early in Albrecht Dürer’s career, this engraving cannot be tied to a specific narrative but may allude to the Greek goddess of the underworld, Hecate. Four nude women gather under an orb with a skull at their feet, while a ghoul emerges to their left. Three of the women could represent Hecate, who was often depicted with three faces or bodies; the fourth may be Diana, Hecate’s counterpart on Earth. The nudity and allusions to black magic suggest mischief and the realm of witches. Prints offered a new medium for exploring subject matter that was deemed inappropriate in other media, such as painting.

Matte Poster

Printed with Dye/Pigment Reactive Ink On archival matte paper Shipped in heavy duty poster tube Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.

• Printed with Dye/Pigment Reactive Ink
• On archival matte paper
• Shipped in heavy duty poster tube
• Heavy weight (230 gsm), thick base (9.5 mil), and an instant-dry coating that resists fingerprints and smudging.