Prints (Paintings)

Limited edition of 10.

Traders harvest chips of brilliant and shimmering  rock from outwardly dull-colored standing stones in a seemingly desolate place.

Printed at 600DPI at the size of the original painting (9×12 inches) with a white border, on archival acid-free fine art paper, in archival pigment inks – spray-coated with a matte finish for added resiliency and UV protection.

Each of these only 10 prints, is hand-signed and numbered by Myke Amend. To make them even more rare, and each a unique work of art, prints will be hand-embellished (little added details painted on in acrylic paint) to set them apart as original works.

Printed at 12×15on fine art rag paper.

Prints are printed in fine archival pigment inks and on quality acid-free specialty paper to make the color, detail, and crispness of these images superb and perfect.

On the move: An army of airships and foot soldiers and something more, swimming in the aether.

Every last bit of this is incredibly detailed, with a maddening amount of coverage of painted glyphs as textures on leather and metal.

You can see how incredibly detailed this piece is Here.

I am only offering 10 of these as giclees on paper – all will be hand signed, dated, and numbered. Posters and photographic prints, will be available on our RedBubble account – puzzles, coasters, magnets, and the like will be on my deviantart account at some point.

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

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.

Printed on highest quality acid-free fine art paper in archival pigment inks for an archival rating of nearly 200 years, hand-signed, dated, and numbered in india ink – hand-embellished with acrylic paint, gold leaf, and/or silver ink to make each of these prints a one of a kind.

Printed image area is 14×14 inches, printed size with white border is 18×18.

From the original acrylic on birch panel, painted mainly in shades of deep blue with touches of orange.

This is from one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail).

The size of the original is 8×10 inches, these are printed on archival fine art paper at 9×12 with a one inch border (total size 11×14 inches), and hand-signed and numbered (1 through 20)

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.

The original work is 14×11, painted in acrylic, on acid-free Bristol board, and the prints are identical in size, plus an extra 1 inch of border for easy matting and framing.

All are printed on archival fine-art rag paper with a watercolor surface to be as true to the original in color, look, detail, and feel, as a print can possibly be. For now, or rather the first 10 of these prints, I’ll be hand-signing these in pencil narrowly within the margin.

This work was inspired by the collaborative mural done by Bethalynne Bajema and myself at Destination 1111; I have painted bits of her beautiful mountain city within the landscape for this piece. I also returned to my old two-color painting for this one, mixing brown and blue for a cozy and tranquil muted and misty scene.

Printed on fine art rag paper at the exact size of the original pencil drawing – hand-signed, numbered and dated.

I finally have this piece available in color. A handful of the original and more-limited black and white giclees are still available as well.

Printed at 11×14 inches on an 16×13 sheet of 200-year archival fine art rag paper in archival pigment inks, each giclee is a long-lasting work of art in its own.

Only 30 giclee prints of this piece be made, ever.

Alice rides a Mock Turtle at high speed along a peppermint lollipop shoreline, followed by the Mad Hatter in his own special-crafted craft.

These images are not made to be exact to the original story, or any movie, but rather to capture and portray the wonder that mythical and magical lands may hold within a child’s imagination.

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.

From a commissioned piece, wherein I was asked to do something super-colorful, detailed, and small.

Rather than leaning towards abstract, I went the more impressionistic route; In order to get my usual amount of detail into such a tiny package, I took to painstakingly paining ropes and sail-stitches with a single hair, details so tiny they cannot be seen in a web-resolution image.

Ghostly vampire squid, jellyfish, and other deep-sea denizens swim through the air, fading away into the distant stars.

These are printed on 200 year archival fine art rag paper in archival pigment inks, at the same size as the original (8×10 inches) and hand-signed and dated by Myke Amend.

Border size is approximately 1/2 inch. Not being a set edition, I lean toward 8.5×11 inch for easy framing.

The second panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

Available for a week at the reduced price introductory of $25 (reg $35).

The art is the first panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

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.

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 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 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 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 – 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.

Printed at 11×14 inches in archival inks on fine art heavyweight archival paper with a one-inch border all-around (making it 13 x 16 inches). Signed, numbered, and dated by the artist lightly in pencil within the margin.

This image was the cover for the September/October issue of Gatehouse Gazette, an excellent dieselpunk, pulp, horror, sci fi, steampunk mag if you aren’t already reading it.

The original pen and ink has been colored in acrylic paint, scanned at 900 DPI in 48 bit color, and reproduced true to the original on paper nearly identical to that of the original piece.

These come numbered 1-20, AP I, or AP II, hand-signed and numbered by the artist.

“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.

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.

One of my mini paintings from the ongoing series lowbrow art series “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around (9×12 total), as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

“Missed Me” – one of my mini paintings in the ongoing series of lowbrow paintings, “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around (9×12 total), as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

Printed area is 7 x 10, surrounded by a 1 inch border (9×12 total inches) of the same beautiful, thick, durable woven paper that the giclee is printed on.
A giclee on 200 year archival fine art rag paper of one of my low brow mini paintings in the “Smile” series. 5×7 acrylic on canvas board. It depicts a diesel powered robot sifting through a scrap yard, and the strange alien invaders he has found.
Signed and numbered in the margin, limited run of 20.

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)