Large Prints

The original painting was commissioned for Robert of Abney Park, and it includes the band’s flagship airship: HMS Ophelia.

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 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.

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

“All in all, the experiment was a brilliant success, though it ran for a shorter time than desired.

Ultimately, the machine had to be shut down prematurely, else we might not have had enough crew to make it comfortably back to port. Over forty Russian tribesmen bravely gave their lives to science this day – a terrible tragedy; They will surely be expensive to replace.

Also lost was an entire crate of ether, carelessly dropped from the edge of a berg in the midst of today’s activities – the most terrible happening of the entirety of our icy adventure.

Nevertheless, we saw many wondrous and splendid things this day: creatures and landscapes from the aether danced and swam about us through the air, and we saw the laws of our world temporarily suspended by those of the aether world.

It leaves me to wonder: How closely does the placement of their world correspond with ours? Are these same creatures to be found elsewhere on our planet, or would we perhaps find other inhabitants should the machine be tested in new locations?

What sorts of wondrous and unique beasts might we see in other locations? What splendid things might we discover in the aetherworlds of Beijing, Hong Kong, Indonesia, London, or perhaps New York City?

Needless to say, I am beyond eager to see!”

- Professor Aden M. Kemy, Miskatonic Archivist

These 50 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, hand-signed, and hand-numbered. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

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.

**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.

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.

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

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.

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.

Printed area is 12×20 inches with a 1 inch border on the sides and a 1.5 inch border on the top and bottom.

These 20 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality Fine Art Rag paper for a longevity of about 200+ years, hand-signed, hand-numbered, and dated by the artist.

**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.

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-resistant, and moisture resistant coating.

Edition Size: 30

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.

There is a 1-inch border on this print, making the total size 12×15 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 acid-free watercolor-textured Fine Art Rag Paper and hand-signed in pencil within the margin.

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 Acid-Free Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 2-inch border on this print.

This edition of 25 is printed on 200-year archival Hahnemuhle Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 2.5-inch border on this print (makes it roughly 17×20)

Edition Size: 25

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

Printed on Watercolor-textured acid-free Fine Art Rag Paper. Hand signed and numbered in the margin. Print size is 11×14 inches with a half-inch border all around.

This is the fourth painting and the fifth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences 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 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 20 metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality heavy metallic stock, uv-sealed for a longevity of about 200+ years, hand-signed. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

Printed area is 11 by 14 inches, with a border of 1 inches inches all around (print size is roughly 13 by 15). It is printed on Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

20 of these are to be printed.

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 14 by 11 inches, with a border of .5 inches all around (print size is roughly 15 by 12). It is printed on Acid-free Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

30 of these are to be printed.

So much did I love my memory of her, that I could not bear the thought of this thing she had become, starving for all of eternity in a stone casket with those who took her from me.

Now, all that remains of my family – a lonely field of shattered bones and turned earth, and this sad and broken shell of a man, who will someday soon become her final meal; This, my penance, my payment, for the horror I have brought into the world.

Printed area 9×12 inches, print size 11×14.

Edition Size 25

Printed on Hahnemuhle Fine Art Rag Paper with rough edges, in archival pigment inks, signed and numbered.

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 was one of the earlier ones of those.

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.

This printing is the same size as the original 18×12″ painting, printed as a giclee to get a perfect match in colors, hues, and detail of this vividly colored and intensely detailed work.

There are only 25 such canvas prints available of this stranger, happier, more whimsical dreamscape piece – One of the very last pieces from the Airships and Tentacles series before the book is complete.

Each is hand-signed, dated, and numbered by the artist in paint in the front lower corner – and in ink on the back edge of the print. All prints are shipped stretched an mounted in the US and abroad.

**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.

“To the Fairest”

From the original 12×15 acrylic painting on canvas, the metallic paper presents a wonderful added dimension of color and vibrance to this somewhat fairy-tale inspired piece.

25 are available, each signed, numbered and dated within the margin of the work. The printed area is roughly 12 x 15 inches, on 200-year archival fine art rag paper, with a 1 inch white border for easy mounting and framing.

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 towards 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 20 metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic stock, coated with a UV/scratch/moisture resistant protective layer, 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.

** 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.

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

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