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** Ships Rolled outside the US, stretched and Mounted Inside the US**

This is the fifth painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.

These 50 giclees are printed full size in Epson Ultra Chrome k3 archival inks on high-quality heavyweight canvas, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years. They are hand-signed, and gallery-wrapped. They are documented with a signed and hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

Limited Edition of 20

This is the fifth painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.

These are printed in archival pigment inks on high-quality heavyweight fine art rag textured paper, coated with a UV resistant protective coating, with an archival-rating at about 200+ years.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.

A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.

The original is 12×9 inches, highly detailed, micro-fine line engraving; Though it translates well to screen resolution, looking at the prints or the original are an entirely new experience.

The Metallics are open edition and printed on heavy archival professional metallic photographic paper.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.

A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.

There is a limited run of only 35 giclees.

The original is 12×9 inches, highly detailed, micro-fine line engraving; Looking at the prints or the original are an entirely new experience.

The Giclees are printed at 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches); They are signed, numbered, and dated by the artist lightly within the margin.

200 Years Archival

Full size: 8.5 x 11

Limited Edition of 25

A quaint moonlight ceremony on a cozy cobblestone path, surrounded by stone, lit by flickering torches which lend light the reverse side of the tree.

This print (9×6.5 printed area with 1 inch border all around)is slightly larger than the actual size of the original engraving (5 inches by 7 inches), printed on heavy-weight professional fine art paper with an estimated archival rating of 180 years, signed and dated in the margin.

Printed at 11×14 inches in archival inks on fine art heavyweight archival paper with a one-inch border all-around (making it 13 x 16 inches). Signed, numbered, and dated by the artist lightly in pencil within the margin.

This image was the cover for the September/October issue of Gatehouse Gazette, an excellent dieselpunk, pulp, horror, sci fi, steampunk mag if you aren’t already reading it.

The original pen and ink has been colored in acrylic paint, scanned at 900 DPI in 48 bit color, and reproduced true to the original on paper nearly identical to that of the original piece.

These come numbered 1-20, AP I, or AP II, hand-signed and numbered by the artist.

Printed at 8×10 inches in archival inks on professional heavyweight archival Metallic paper.

This image was the cover for the September/October issue of Gatehouse Gazette, an excellent dieselpunk, pulp, horror, sci fi, steampunk mag if you aren’t already reading it.

The original pen and ink has been colored in acrylic paint, scanned at 900 DPI in 48 bit color, and reproduced true to the original on paper nearly identical to that of the original piece.

Metallic prints have a *slight* metallic sheen underneath the ink, much like antique silver prints or tintypes would look like if they had colored inks in those days. The result is a brilliant image with a magnificent depth added by the slight under-reflection.

This is the eighth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

The work was commissioned for Cherie Priest, Author of “Bone Shaker”, for her new book “Clementine”, and it includes the Clementine sailing away from a stranded group of pirates after a strange air battle.

This fine art giclee is printed on heavyweight fine art rag paper in pigment inks with a 200+ year archival rating.

They are signed, dated, and numbered (1-20, API or APII) by Myke Amend.

**Ships Rolled Outside of the US, stretched and Mounted Inside of the US**

This is the eighth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

The work was commissioned for Cherie Priest, Author of “Bone Shaker”, for her new book “Clementine”, and it includes the Clementine sailing away from a stranded group of pirates after a strange air battle.

This fine art giclee is printed on heavyweight fine art canvas in pigment inks with a 200+ year archival rating and hand-brushed by the artist in a semi-gloss uv-resistant varnish.

They are signed, dated, and numbered (1-10, API) by Myke Amend

This is the Latest painting and the eighth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

The work was commissioned for Cherie Priest, Author of “Bone Shaker”, for her new book “Clementine”, and it includes the Clementine sailing away from a stranded group of pirates after a strange air battle.

Limited edition of 10

This is the fifth painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.

These are printed in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic paper, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years.

This is the fifth painting in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle.

This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.

These are printed ; in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic paper, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.

A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.

The original is 12×9 inches, highly detailed, micro-fine line engraving; Though it translates well to screen resolution, looking at the prints or the original are an entirely new experience.

The Metallics are open edition and printed on heavy archival professional metallic photographic paper.

“Open Edition” is not a guarantee that I will carry them forever, or even for years – but simply stating that they are available, for as long as I choose to offer them. Though not limited and signed, they are beautiful prints – and like everything I sell, very high quality, and 80 to 200 years archival (depending on uv exposure).

This is the Latest painting and the eighth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

The work was commissioned for Cherie Priest, Author of “Bone Shaker”, for her new book “Clementine”, and it includes the Clementine sailing away from a stranded group of pirates after a strange air battle.

This fine art print is printed on heavyweight professional metallic paper in pigment inks with a 200+ year archival rating.

12 x 8 inches on an all-weather vinyl decal, adhesive-backed for outside-of-window application (for tinted windows, non window items, laptops, computer cases, instrument cases, doors, etc..)

12 x 8 inches on an all-weather vinyl decal, adhesive faces inside of glass on print side for inside-of-window application.

From the original water color painting over pen and ink, made for the cover of the upcoming coffee-table art book (and as the design for the new t-shirts).

These are printed on 200+ years archival metallic photographic stock in archival pigment inks, coated in a UV/moisture/scratch resistant coating for added protection and sheen.

Printed at 5×7 inches in archival inks on professional heavyweight archival Metallic paper.

This image was the cover for the upcoming September/October issue of Gatehouse Gazette, an excellent dieselpunk, pulp, horror, sci fi, steampunk mag if you aren’t already reading it.

The original pen and ink has been colored in acrylic paint, scanned at 900 DPI in 48 bit color, and reproduced true to the original on paper nearly identical to that of the original piece.

Metallic prints have a *slight* metallic sheen underneath the ink, much like antique silver prints or tintypes would look like if they had colored inks in those days. The result is a brilliant image with a magnificent depth added by the slight under-reflection.

Limited run of 20 – hand signed, numbered, and dated

The original was painted in acrylic with hands, fingers, and thrown paint, accented with gold leaf, blood, and razor blades. It is a simplistic, yet energetic piece.

These are beautifully printed 12 x 12 on heavy 200 year fine art rag paper in archival pigments inks.

As rich in detail as it is in mystery, this piece was acquired by the Miskatonic Archive through metaphysical and electronical means due to a strange glitch in the aether, and perhaps in turn due to a faulty tube or misplaced artifact.

It bears the seal and sigil of one “Myke Amend”, a strange being, presumed to be an artificer from neither future nor past nor present, but someplace sideways and otherly.

It is printed on heavy archival fine art paper in Epson Ultrachrome k3 archival pigment inks, signed, dated, and numbered by Myke Amend

Printed 7×10 with a one inch border (total size 9×12 inches) on heavyweight fine art rag paper (archival 200 years). Limited to 20 of these signed, numbered and dated prints.

One of three really tiny paintings I did to pass the time for a smiley-themed set.

That collection is still building.

These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

There are just black holes/ Where the stars would be watching/ just black holes where the stars should have been

20 of these giclees are available, printed on heavyweight 200 year archival fine art rag paper.Each is hand-signed, dated, and numbered by Myke Amend. Printed area is 14×18 with an added one inch border all-around (16×20 total).

A dark-eyed, and seemingly soulful being, receives orders by way of feathered messenger.

Detailed and perhaps a bit alarming, this piece was beamed to us from the farthest reaches of the aether, seemingly as a warning of events yet to unfold, and in this – as a testament to the importance of our research at the Miskatonic Archive.

Bearing the seal and sigil of one “Myke Amend”, artificer, and graphical alchemist, we are proud to present this uniquely prophetic image in our gallery. I use that word loosely, as this piece apparently has an expiration date of 11-11-11, even though 1911 has long-since passed.

It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

Edition size of 20.

Printed on 200-year archival fine art rag paper, each hand-signed, numbered, and dated by Myke Amend.

This piece depicts a mechanical dragonfly making a nymph from spare parts, with the aid of its creator’s manual.

It is printed on heavy archival metallic professional photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

The gun-slinging rogue preacherman, mechanized and given the steampunk aesthetic.

It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-resistant, and moisture resistant coating.

Limited Edition of 20. Printed area is 12×18 with a one inch border all around.

An earlier digital work. It is a bit on the dark and spooky side for most people, but a favorite of a special few.

It is printed on heavy 200-year archival fine art rag paper in Epson Ultrachrome k3 archival inks – signed, numbered, and dated within the margin.

Watermarks do not appear on actual print.

Print is 9×12 inches in archival inks on heavy professional metallic paper.

Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, Dieselpunk meets fantasy meets Halloween spookiness.

Watermarks do not appear on actual print.

Print is 8×10 inches in archival inks on heavy professional metallic stock.

A clockwork cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.

Print is 9×12 inches in archival inks on heavy professional metallic stock.

Armies from the moon attack planet earth! Resistance is meh!

From the original Engraved in Ampersand Art Clayboard black and in matching size – printed in brown inks to make the most vibrant use of the metallic fine art paper.

These metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality professional heavy-weight metallic stock. They are uv-sealed for a longevity of about 200+ years.

From the original Engraved in Ampersand Art Clayboard black – printed in brown inks to make the most vibrant use of the metallic fine art paper.

These metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality professional heavy-weight metallic stock. They are uv-sealed for a longevity of about 200+ years.