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.

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

t is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-resistant, and moisture resistant coating.

This edition is is printed on 200 - year archival heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

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.

Found carved into a mysterious black sheet of stone, this piece was found at the summit of a hidden volcano near an abandoned coastal town.

Another piece marked by Myke Amend, artificer. It is unnerving, disturbing - he seems to be just a few steps ahead of us, and at the very root of all these strange goings on. These duplications are as detailed as they are high quality, and we hope for the sake of us all, that they aid you well in your research.

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.

Scratched into a mysterious sort of black board, this piece was found in the ashes of a funerary pyre at bohemien grove.

Another piece marked by Myke Amend, artificer, it is beginning to seem quite strange that his works are popping up at every dig site and at the centre of our every investigation. Nonetheless, our duty is to furnish you with only the best duplications, of everything our museum has to offer.

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.

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

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.

One of three really tiny paintings I did to pass the time for a smiley-themed set.

That collection is still building.

These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

One of three really tiny paintings I did to pass the time for a smiley-themed set.

That collection is still building.

These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

One of three really tiny paintings I did to pass the time for a smiley-themed set.

That collection is still building.

These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

One of three really tiny paintings I did to pass the time for a smiley-themed set.

That collection is still building.

These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

This is the third painting and the fourth work in the collection "Airships and Tentacles" wherein Vernian and Lovecraftian influences intermingle. It is an image both lampooning and celebrating the wreckless spirit of adventure of Victorian and Edwardian-Era century explorers.

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.

Printed area is 5 x 4 inches

A cropping of the Gadreel from the "behold the Machine" painting.

The original painting was commissioned for Robert of Abney Park, and it includes the HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.

These reproductions are printed in Epson Ultra Chrome k3 archival inks on high-quality matte heavyweight stock. They are uv-sealed, scratch and moisture resistant, and have a longevity of about 200+ years.

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.

Printed area is 4x5 inches

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).

The originals are done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

5x4 inches

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 is one of the very earliest of them all - my first being a remake of Gustave Dore's "the Raven" (done to decorate my own wall). This was my third lifetime go at engraving.

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.

Printed area is 5 x 4 inches

A cropping of the sea serpent from the "behold the Machine" painting.

Printed on heavyweight metallic photographic professional 180 year archival photographic stock with a uv-resistant protective coating.

This fine engraving depicts a rather Lovecraftian creature of the deep embracing a submersible craft, much like the Nautilus of Jules Verne's 20,000 Leagues Under the Sea.

Atop the oceanic mountain in the far background rests an ancient and forgotten temple, marked at its entrance by the sigil of Dagon.

Printed area is 5x4 inches.

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 one was one of the very first.

Printed area is 4x6

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.

Printed area is 5x7 inches

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, and for me who likes lemurs. The two just go together like peanut butter and herrings... pineapples and trees.

Printed area is 4 x 5

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 5 x 7 inches

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 on heavyweight metallic photographic professional 180 year archival photographic stock with a uv-resistant protective coating.

This fine engraving depicts a rather Lovecraftian creature of the deep embracing a submersible craft, much like the Nautilus of Jules Verne's 20,000 Leagues Under the Sea.

Atop the oceanic mountain in the far background rests an ancient and forgotten temple, marked at its entrance by the sigil of Dagon.

Printed area is 5x7 inches.

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 5x7 inches.

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 is one of the very earliest of them all. This one is my very favorite of the lot - you would probably have to see it printed to fully understand.