Canvas Prints

The original was Painted at 18×12 inches in acrylic on oak panel, and these giclee prints, printed in archival quality pigment inks on fine woven canvas, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, hand-numbered, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

The original was Painted at 12×24 inches in acrylic on tempered hardboard backed with birch, and these giclee prints, printed in archival quality pigment inks on fine woven canvas, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 giclees on canvas are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

This is the same size as the original, printed as a giclee for the truest color and detail available, and with a 200 year archival rating.

Each of these 20 giclees is printed in quality archival inks on heavyweight fine art rag paper – and is signed,numbered, and dated by Myke Amend.

The original was painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

Giclees are of course the closest to the original available (and in many cases indistinguishable from the originals. Since I tend to paint on very smoothly sanded board, and hide all texture/brushstrokes in my paintings… often times, the giclees look *more* real than the original does.

** 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.

** Only a few of these left **

**Ships Rolled outside of the US. Stretched and Mounted inside the US***

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.

Prints are printed in fine archival pigment inks and on quality acid-free specialty canvas to make the color, detail, and crispness of these images superb and perfect. They are also coated with a UV-protective coating for added long-lasting archival quality.

I am only offering 11 of these as giclees on canvas (10 in the limited edition, 1-super-size one to be repainted and offered at an art showing) – all will be hand signed and numbered.

Watermark and web address are not present on the actual prints, of course.

Limited edition of 10 prints.

John Strangeway, aka Steampunk Boba Fett hired me to create a more Victorian/Edwardian era craft for him in a painted portrait. This is the result.

These reproductions of the original painting, are printed as giclees (prints in archival pigment inks), for truest color and crispness, and printed on canvas, and uv-protected – with an estimated archival rating of 200 years.

With many of my pieces, people are more certain that the giclees are the originals, because my original paintings are texture-less and on board. Since the Original Slave 1881 was painted on canvas, these will be very hard to tell from the original painting – in stunning color and detail.

I am putting them up at a lower introductory price, because people who see one of these on their wall, will likely want one of their own, which is good for me.

The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

The original is 30×24 inches (the same size of these giclees, which are hard to distinguish from the original), painted in acrylic on canvas.

There are 10 giclees available.

The work is 20 x 16 inches at 300DPI for fine, color-rich and crisp, detailed printing at the same size. Canvas shipped within the US is stretched and mounted, and stapled on the back for staple-free sides. Orders outside the US are shipped rolled, so I do not need to charge $75+ for shipping.

The Rhyme of the ancient lighter than air pilot… doesn’t have the same ring, but I really liked being able to take some time and paint this ghost ship of the air… except for being pinned at my computer for 102 hours anyway.

I decided to do this one in digital; It started as a pencil sketch, I scanned it in, thought “maybe I’ll just add a little color to it, and… well, this is how some of my favorite projects begin.

Each giclee is signed in paint on the front (really tiny in the corner), and signed and dated in pigment ink on the back.

These Giclees have an archival rating of over 200 years, and are printed on fine art canvas in pigment inks, coated with varnish and a UV-protective finish.

One of my older works, which I only finally got imaged in October of 2010 because of a good number of requests that I do so. It was first shown publicly in September of 2010.

A fairly emotional piece, painted during a time when leaving a life and people behind, in search of myself, seemed like the best way to pull through.

I can’t say any one piece I have done has but one feeling, event, or idea attached to it – a piece tends to gather thoughts and concepts like a snowball on an incline. This piece is no different there: Somewhere in the completion of this piece, the chalk outlines seemed like the perfect finish, inspired by a scene from Eric Adams‘ Lackluster World (Eric is a long time friend of mine from my hometown of Cincy), so I expanded on that thought a little through the completion of the piece.

These giclees are printed on fine art canvas in archival pigment inks and coated in a special uv-protective coating. They are limited to only 20 made. They are full-sized (16×20), hand-signed and numbered in paint (subtly) on the front, hand-signed, numbered, and dated on the back.

**Overseas orders are shipped rolled, not stretched and mounted, in order to keep the price down.

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

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 20 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.

24 inches by 36 inches in archival pigments on fine art canvas; stretched gallery-wrap (back stapled and clean sides). Protected by a UV and scratch resistant coating.

Limited edition of 20 – signed, numbered, and dated on back of canvas, signed and numbered (subtly) in paint on the front.

INTERNATIONAL: Giclees on canvas ship rolled instead of stretched and mounted for international orders, because the price of shipping and customs for stretched and mounted giclee would be *WAY* above what you can have it stretched and mounted for at your local framers. If you wish, I can however make additional arrangements, for additional shipping.

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

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 Canvas (for the optimal standard framing size), in archival pigment inks on 200+ year archival quality heavyweight cotton canvas. Each is coated with a UV, moisture, and scratch-resistant coating for added longevity.

25 total will be printed. All giclees on Canvas are shipped stretched and mounted withing the US, or rolled everywhere else (but you can arrange to receive a stretched copy if you wish to work out additional shipping).

Each is hand-signed, hand-numbered, and dated by Myke Amend. Each also comes with a certificate of authenticity. Both the artwork and the certificate have matching serialized holograms affixed to them (front of certificate, back of canvas) for added assurance and to protect the value of your print.

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.

It was then that she began to wail, in a terrifying and unearthly tone; And it was then I realized that the sirens ringing loudly throughout the valley were not sirens at all, but the sound of other fleeing humans, their spirits trapped by the seeking lanterns of the floating leviathans above.

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. These 25 giclees are printed on canvas in 200 year archival pigment inks and UV sealed/protected.

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

**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 originally 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 (1-50, API or APII) by Myke Amend – and all printed from a unique file for this series only, which will be destroyed at the end of the printing run to further guarantee their uniqueness.

Each also comes with a Hahnemuhle Certificate of Authenticity, also signed and dated by the artist, with serial-numbered holograms affixed to the back of the artwork and to the certificate.

As with all of Myke’s limited editions, there is one set of offerings, no later editions, and there will be no editions printed larger, or on the same support type (fine art canvas), ever.

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.

The original image was commissioned for Josh Pfeiffer of Vernian Process for the album “Behold the Machine”, 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 stretched and mounted, 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.

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

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 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.

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

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 24 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.

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

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.

The image 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.

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

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.

This is the same size as the original, printed as a giclee for the truest color and detail available, and with a 200 year archival rating.

This single print, Artist Print I of I for the series of 25, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

The original was painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

Giclees are of course the closest to the original available (and in many cases indistinguishable from the originals. Since I tend to paint on very smoothly sanded board, and hide all texture/brushstrokes in my paintings… often times, the giclees look *more* real than the original does.

The original was Painted at 12×24 inches in acrylic on tempered hardboard backed with birch, and these giclee prints, printed in archival quality pigment inks on fine art rag paper, uv protected, hand signed and numbered are the perfect representation in color and feel.

This single print, Artist Print I of I for the series of 10, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.