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 32x21 inches, made to match the size constraints of the 36x24 inch "the Rescue" Metallic prints and the 36x24 "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 34x17 inches, made to match the size constraints of the 36x24 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.

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.

Limited Edition of 25

Watermarks do not appear on actual print.

Print is 8.5x11 (printed at roughly 9x6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin.

A mechanical alien army marches on planet earth as tentacles probe the ground and sky in the shadows. Airships save the day! Maybe! This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5x7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.

Print is 5x7 inches in archival inks on heavy professional metallic stock.

A clockwork cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5x7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.

Print is 5x7 inches in archival inks on heavy professional metallic paper.

Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears.

Watermarks do not appear on actual print.

Print is 5x7 inches in archival inks on heavy professional metallic stock.

Armies from the moon attack planet earth! Resistance is meh!

Watermarks do not appear on actual print.

Limited Edition of 25

Printed at 6.5x9 inches in archival inks on fine art rag paper with a one-inch border all-around (print is 8.5x11). Signed, numbered, and dated by the artist lightly within the margin.

Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5x7 engraving to better showcase the extensive detail within this work.

Limited Edition of 25

Watermarks do not appear on actual print.

Print is 8.5x11 (printed at roughly 9x6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin.

A clockwork mechanical cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. Inspired by the Cheshire cat of Alice in Wonderland, this is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5x7 engraving to better showcase the extensive detail within this work.

You can buy these unsigned and undoodled in directly through ModoFly at Modofly.net for 36 dollars (US).

These are comparible to Moleskines, and are really, really nice (and really unique) journals.

Be sure to specify in the notes for this item how you would like to have it signed, and whether you prefer a ruled or sketchbook version.

You can buy these unsigned and undoodled in directly through ModoFly at <a href="http://modofly.myshopify.com/search?q=myke+amend">Modofly.net</a> for 36 dollars (US).

These are comparible to Moleskines, and are really, really nice (and really unique) journals.

Be sure to specify in the notes for this item how you would like to have it signed, and whether you prefer a ruled or sketchbook version.

You can buy these unsigned and undoodled in directly through ModoFly at <a href="http://modofly.myshopify.com/search?q=myke+amend">Modofly.net</a> for 36 dollars (US).

These are comparible to Moleskines, and are really, really nice (and really unique) journals.

Be sure to specify in the notes for this item how you would like to have it signed, and whether you prefer a ruled or sketchbook version.

You can buy these unsigned and undoodled in directly through ModoFly at <a href="http://modofly.myshopify.com/search?q=myke+amend">Modofly.net</a> for 36 dollars (US).

These are comparible to Moleskines, and are really, really nice (and really unique) journals.

Be sure to specify in the notes for this item how you would like to have it signed, and whether you prefer a ruled or sketchbook version.

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.

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.

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 5th

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.

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 5x7 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.

Printed area is 7 x 10, surrounded by a 1 inch border 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. 5x7 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.

Printed area 9x12 inches, print size 11x14.

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.

Printed area is 5 x 4 inches

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

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.

Printed area is 5 x 4 inches

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

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.