Large Prints

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.

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.

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.

“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

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 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 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.
The printed area on this metallic print is 34×17 inches, made to match the size constraints of the 36×24 inch “the Rescue” Metallic prints. The limited run of metallics for “the Rescue” sold out in a week, which saddened me a bit because I didn’t even get to keep one for myself and because  felt a bit bad for the people who wanted them but couldn’t get them. So, instead of a limited run of 20 + II, I am doing a Limited run of 50 for these.
I have also, to make room for this limited edition, completely cancelled the Limited run of 100 giclees on fine art rag paper, only having sold the two artists prints (I and II). Those two prints, are now incredibly beyond unique and rare.

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.

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 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 11 by 14 inches, with a border of 1 inches inches all around (print size is roughly 13 by 15). 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.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Edition Size: 25
The gun-slinging rogue preacherman, mechanized and given the steampunk aesthetic.Printed on Hahnemuhle Fine Art Rag Paper. Hand signed and numbered in the margin. Print size is 11×14 inches with a one-ince border all around.

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)

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 archival metallic photostock in Epson Ultrachrome k3 archival inks, coated with a UV and scratch-resistant coating.

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.

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?
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 piece 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.
The image for this piece is changed each year. Previous versions had less straps and buckles, different effects on the hair, etc… it is an ongoing evolving print. I wouldn’t go so far as to name it a “Limited Edition”, as there is no set number – but last year’s prints of this image will never again be available, nor the year prior, etc..

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

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.

This piece is about a mechanical dragonfly making a nymph from spare parts, and vaguely about creations having a life of their own, as well as being about the creative process itself.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.

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 metallic photostock in Epson Ultrachrome k3 archival inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

Printed at 24 x 16 inches, this is a fine art reproduction 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 are printed in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic professional photo stock. They are uv-sealed for a longevity of about 200+ years, moisture and scratch resistant.

** 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.

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

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. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

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 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.
There is a touch of sensuality in the pink tentacles, scarlet flowers, and protruding ship mast; 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 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. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

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.

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.