Giclees

The original was drawn in pen and ink on 11×14 inch Bristol Board, I did the coloring with my 4-year old Adesso drawing tablet so as to preserve the pen and ink original.

The Black and White version is the Cover for Gatehouse Gazette #14, my third cover for them.

I am making only 20 of these full-sized giclees. Total size with 1″ border is about 13×16 inches.

They are printed on cotton-weave fine art rag paper in archival pigment inks for the sort of superior clarity and color quality expected from a giclee print.

All giclees are pencil-signed, numbered, and dated, all in tiny handwriting, in the margin.

Available for a week at the reduced price introductory of $25 (reg $35).

The second panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

Available for a week at the reduced price introductory of $25 (reg $35).

The art is the first panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

The original was painted on a wood panel cabinet I hand-made for the purpose of doing this painting.

It was lovingly, carefully scanned for truest color and detail, and printed as a giclee for the best, most highly-detailed and most brilliant reproduction quality.

These are printed 12×18 (the original size of the work) on a 16×20 sheet of fine art rag paper (for the optimal standard framing size), in archival pigment inks on 200+ year archival quality paper.

Each is hand-signed and dated by Myke Amend.

Printed on fine art rag paper at the exact size of the original pencil drawing – hand-signed, numbered and dated by Myke Amend.

Printed at 11×14 inches on an 18×15 sheet of 200-year archival fine art rag paper in archival pigment inks, each giclee is a long-lasting work of art in its own.

Only 20 prints of the original pencil drawing will be made, ever.

Alice rides a Mock Turtle at high speed along a peppermint lollipop shoreline, followed by the Mad Hatter in his own special-crafted craft.

These images are not made to be exact to the original story, or any movie, but rather to capture and portray the wonder that mythical and magical lands may hold within a child’s imagination.

15×18 inch giclee print (printed area 11×14) on fine art rag from the original pencil sketch by Myke Amend, printed in archival pigment inks to make for a 200+ year archival giclee print.

Each is discretely signed, numbered, and dated by the artist in pencil, within the margin.

This limited edition of 10 was made just because I thought it would be a shame for the image not to be available as a monochromatic print, and for those who really like to collect rarities.

The pencil drawing was done as a commission for friend, Violet Ash in June of 2010, a part of a small set of pencil commissions I offered up to raise gas money to the World Steam Expo.

“I believe they may be intelligent lifeforms of some sort… or at least they show some signs of intelligence. Note the craftsmanship, the artful beauty, the symmetry… It is a wonder they put so much care into the packaging of mere food. That it can reach us from the surface in such excellent condition, still fresh and living, is indeed impressive. I look forward to the time when they finally make contact. I am already, most certainly, impressed by their offerings”

- Enkielle, priestess of Dagon

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

Their fingers and toes, were cinched together in sets of two by hand-sewn bits of a leathery material which I can only say most closely resembled human skin. The same I would say of their tight-fitting suits of alternating dark and light colored diamond-shaped patches.

These bloody harlequins were said to be servants of some ancient and un-namable horror, a master of the ocean coasts, and now lord of the night – his eyeless and tentacled visage drawn in blood and human entrails on the southerly faces of each and every building, of each and every mass-murdered town.

Print size is larger than the original engraving, but scanned at 900dpi, these giclees present a larger image where the incredible details can be seen without a magnifying glass at close range – making them perfect for viewing on a wall.

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

When Elizabeth turned her eyes to the light, she froze solid and still, like a wild doe caught in the high beams of an oncoming car.

Cloaked figures with ashen faces, bathed in crimson, floated through the surrounding brush, guided by the eerie signals of their human prey. I could barely summon the courage to whisper “I’m sorry”, gazing horrified and heartbroken into Elizabeth’s tear-filled eyes as I silently mouthed my regret, then ran stumbling into the darkness.

“The Red Queen” was painted in finger-painting, hand spatters, sponges, fast brush strokes, flung paint, toothbrushes, and most anything else handy, including feathers …but not the chicken.

The original painting is 48 x 24 inches in acrylic on birch

A.P.s and early edition numbers going to the first takers.
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.

On sale through November, reduced by over $40.
This is the fourth 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.
The airship is set against a calm and cloudy sky, and white stone mountains, in the mid ground blow blossoms from the foreground trees, tentacles subtly hidden within the flowers, trees, mist and fog.
The pink tentacles, scarlet flowers, and protruding ship mast would make Freud very happy; The warm colors of this piece make for a light and open feel, and the subtle earthen tones will pull this work together with most any decor scheme.These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

This is the second 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. Reduced by over $70 through November.
The original painting was commissioned for Josh Pfeiffer of Vernian Process, and it includes the HMS Gadreel above an icy sea investigating a strange and perhaps long-forgotten and possibly alien craft. Ghostly figures twist and turn within the mists, clouds, icebergs, and waves.These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

On sale through November, Reduced by over $30.
This is the third 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.
Squid-like cephalopods swim through the air and fog in an endless field of floating icebergs, taunting these hapless airship explorers.
These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

This is the first 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.The original painting was commissioned for Robert of Abney Park, and it includes the airship: HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. The HMS Ophelia is a trademark of Abney Park, as conceived and designed by Eliza Gauger. Abney Park is a Trademark of the Band Abney Park.

This is the first engraving 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. It was the prototype for the same-named oil painting.
Printed area is 11 by 14 inches, with a border of roughly 2.5 inches all around (print size is roughly 16 by 20). It is printed on Hahnemuhle fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.
30 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio. This one was done as a sketch for a work in process (same-named painting).
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Printed area is 7 x 10, surrounded by a 1 inch border of the same beautiful, thick, durable woven paper that the giclee is printed on.
A giclee on 200 year archival fine art rag paper of one of my low brow mini paintings in the “Smile” series. 5×7 acrylic on canvas board. It depicts a diesel powered robot sifting through a scrap yard, and the strange alien invaders he has found.
Signed and numbered in the margin, limited run of 20.

One of my mini paintings from the ongoing series lowbrow art series “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around, as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

“Missed Me” – one of my mini paintings in the ongoing series of lowbrow paintings, “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around, as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

Limited to 20 pieces. Each is hand-signed and hand-numbered in the margin.
This horror art piece was  the prototype painting for the exterminating angel painting. It was painted in four parts… a quadtych of some strange sort.
This edition is printed on 200-year archival Hahnemuhle Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 2-inch border on this print.

** Orders outside the US are shipped Unstretched and Unmounted to reduce shipping.Limited run of only 25 on Canvas, signed and hand-numbered. With a hologrammed certificate of authenticity and matching serialized hologram on the print.Printed at 32 x 20 inches, this is a fine art Giclee print of the original painting from Myke Amend – a beautiful, serene, and equally strange piece, with bizarre lighting and shadow effects which make some objects and figures seem to lean out of the painting.This surreal piece is heavily-influenced by “Spirit Walking” (“long-term sleep deprivation” as we like to call it).
These 25 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed by the artist. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. These shipped rolled, but stretching/mounting (side wrapped or gallery wrapped) is available for US buyers.

**Important: Overseas giclees are sent unstretched, unmounted to reduce shipping costs.
A lonely cliff scene (Half Moon Rock in the Historic Daniel Boone Forest), serene and violent at the same time. A silhouetted figure throws roses into the wind brought by a not-too-distant storm on the horizon.These 30 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

There is a 1-inch border on this print, making the total size 11×14 inches. Limited edition size: 25 prints.
Tiki Culture meets H.P. Lovecraft inspired Cthulhu art – this piece was done at my table at the Pittsburgh comic con, and was the result of tiki on my brain from my Los Angeles trip.
This edition is printed on 200-year archival Hahnemuhle Fine Art Rag Paper and hand-signed in pencil within the margin.

Sophia, our Goddess…

What lambs are led to slaughter, are for the good of the flock; Who would keep them from the cliffs, were their stewards to perish?
Edition is signed, numbered and dated within the margin. Edition size is 20 pieces.
This edition is printed on 200-year archival Hahnemuhle Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 2-inch border on this print.

Sophia, our Goddess…

What lambs are led to slaughter, are for the good of the flock; Who would keep them from the cliffs, were their stewards to perish?
Limited to 25 pieces. Each is hand-signed and hand-numbered in the margin.
This edition is printed on 200-year archival heavyweight Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 1-inch border on this print.

This lovecraftian edition is printed on 200-year archival professional metallic heavyweight paper, with a uv, scratch, moisture, and fingerprint-resistant luster coating.

Printed Area 12×15 inches. Limited to 25 pieces. Each is hand-signed and hand-numbered in the margin.
This edition is printed on 200-year archival Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 1-inch border on this print.

An image of Western Exploration, Expansionism and Imperialism colliding with the innocence of tribal life and sensibilities in a virgin land. Galleons presented as strange monsters seen at night from a tranquil shoreline, thrash through the endless sea against stormy skies.This was one of my earliest engravings. With the original done at a slightly smaller 8×10 inches, these enlarged prints showcase intensive detail from any viewing range near or far, and are printed on quality 200-year archival heavyweight fine art paper in archival black pigment ink.Printed area is 11×14 inches, with a border of 1 inches all around (print size is roughly 13 by 16).Only 35 of these are to be printed.I did a number of these engravings as a set, partially as a practice run at intaglio.They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Printed area is 9 x 12 inches, with a border of 1 inches all around (print size is 11×14). It is printed on heavyweight fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This one is a little bit 80’s, which I enjoyed doing.

Printed area is 9 x 12 inches, with a border of 2.5 inches all around (print size is 11 by 14). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This one was done for Beth, who likes Pineapples.

Printed area is 8 x 10 inches, with a border of 1 inches all around (print size is 10 by 12). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 35 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this was done on a whim, Lovecraft inspired.