Large Prints

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.

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 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 prints are printed in archival pigment inks on high-quality heavyweight archival matte paper (230 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.

They are hand-signed, hand dated, and wrapped in an acid-free sheeting for safe transport and storage.

Galleries, Gifters, and Resellers can now order this print in bulk. The price will show up in your shopping cart (upper right) the moment you hit “add to cart”.

These 25 limited edition giclees, are from 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.

Having sold out of all of the full size metallics (20 released), and now all of the giclees on canvas (50 released), I am finally able to release this – the very last of the limited edition prints of this work (25 available). There will be no more full sized, hand-signed printings of this work, numbered or otherwise.

These giclees are printed in archival pigment inks on high-quality high density high white-point fine art paper, for an archival rating of about 100+ years. These are hand-signed and dated, numbered from 1-25.

The first 5 sold will also have hand embellishments, i.e added painted elements, painted in acrylic paint to make each piece incredibly unique and one of a kind.

Print size is 28×19 inches, with a white border to bring them up to the standard frame size of 30×24.

The HMS Ophelia is a trademark of Abney Park.

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.

A Limited Edition of 20, from the highly, highly detailed 5×7 inch engraving on Ampersand Art Clayboard.

These engravings are made small, but with the larger prints in mind. 11×14 is the perfect size to showcase all the detail in these pieces.

All these giclees are hand-signed, numbered, and dated by Myke Amend

Limited edition of 20. Signed, numbered, and dated by me.

From the original 5×7 work Engraved on Ampersand Art Clayboard (archival tempered hardboard layered in white clay and india ink).

These engravings are made incredibly rich in detail, and imaged at 600DPI, so that they convert well to larger prints.

The larger pieces are actually what I have in mind when making the small originals, which are an exercise in compactness and micro-fine lining.

The originals are something else to see, but these larger prints are the best representation of the work that printed form can offer.

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.

Painted in oil on tempered hardboard. This was my second oil painting.

Everything else about the piece, I am going to leave to the imagination.

I just finally had this piece professionally imaged, but it was painted in 2005. Finally, this piece is available as a limited edition giclee on Fine Art Rag Paper – only 20 of these will be made. They are printed in archival inks on acid-free art paper, with an archival rating of 200+ years.

Prints are 24×24 inches.

All prints are signed, dated, and numbered by the artist (subtly) on the frontin pencil.

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.

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.

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.

“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.

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 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.

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 18×27 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.

** 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.

**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.

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.

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)

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.

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.

**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 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.