Prints (Paintings)

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

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.

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 9×12 (3/4 the original size of the work) on a sheet of metallic photographic paper (think tin-type or antique photography with the *slightly* reflective surface.. not gawdy metallic, but deep brilliant color and added depth), in archival pigment inks on 200+ year archival quality paper.

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.

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

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 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.Other offerings for this image include a 36×18 inch limited-edition giclee on canvas (limited to 50), a 24×12 limited edition giclee on canvas (limited to 50), and a 36×24 limited edition giclee on fine art rag paper.These open editions run for as long as they run, but worldwide there will only be a combined 200 of the limited editions of this artwork existing in the world, total, ever.

Reg $365 rolled. Available at a lower introductory price for a limited time.
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.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 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.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 upcoming 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.

Printed at 11×14 inches in archival inks on professional heavyweight archival Metallic paper.This image was the cover for the upcoming 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.Metallic prints have a *slight* metallic sheen underneath the ink, much like antique silver prints or tintypes would look like if they had colored inks in those days. The result is a brilliant image with a magnificent depth added by the slight under-reflection.

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 Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic paper, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years.

A.P.s and early edition numbers going to the first takers.
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.P.s and early edition numbers going to the first takers.
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 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 32×21 inches, made to match the size constraints of the 36×24 inch “the Rescue” Metallic prints and the 36×24 “the Machine” 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.

** Damage notes. 2 of these prints were damaged in shipping to me. Each of their edges are only very slightly bent, in a 1.25 inch-long spot along the bottom-most edge, only 1/16th of an inch deep… practically unnoticeable, except to a very, very picky artist.
Framed, or even matted, these damages would be invisible, and vacuum-pressed in the mounting process, I am pretty sure the damage would disappear altogether. These are a part of the limited edition, and come certified, numbered, and serialized as the rest of the edition.
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.

The metallic paper brings out the rich colors and depth in this work like no other.
The original was painted in acrylic with hands, fingers, and thrown paint, accented with gold leaf, blood, and razor blades. It is a simplistic, yet energetic piece.
These are printed 12 x 12 on heavy metallic professional stock, in archival pigments inks, coated in a UV/scratch/moisture resistant coating and have an estimated 200 year archival rating.

“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.
Printed on heavyweight 200 year archival metallic photo stock in archival pigment inks, coated in a lustrous uv, scratch, moisture, and fingerprint resistant coating.

“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 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 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.

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 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.

“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 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 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.

Purchase allows you 1 download plus 2 additional download attempts/redownloads.
Only legal tender for postage within the Allied Federation of Vernian States, no cash value.
80 days shipping is subject to terms and conditions, those terms and conditions being that this service does not actually exist.
These stamps are best used as scrapbook accents or for decorating hand-delivered envelopes. Twenty 1.75 inch stamps print for sheet printed, though at this resolution, you can print almost twice the standard size and still get decent (but larger) stamps.
Download size is 2.61 MB – For full terms of use, click “more info” below.

Presale Price valid through August 1st – Ships August 5thThis 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.Printed on heavy archival metallic stock in archival pigment inks, coated with a UV, moisture, and scratch-resistant coating for added durability and lifespan.

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.

Three 5×7 metallic prints, printed on heavy 200-year archival professional metallic stock in archival pigment inks, coated with a uv, moisture, and scratch resistant coating.The Smile series is from a same-named series of miniature paintings from Myke Amend, all 5 inches by 7 inches in acrylic on canvas.Smile series 1, also intended to be kid-friendly, was perhaps a bit on the creepy side with the blood and all – but this series is much brighter and happier, and not so incredibly creepy… though Myke may argue to the contrary because smiles really creep him out.

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, 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.

A printing of one of my mini paintings in the “Smile” series.
Printed 5×7 on metallic archival stock with a luster uv, moisture, and scratch resistant finish
 
 

“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, 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.