Reproductions

The original was Painted at 18×12 inches in acrylic on oak panel, 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 are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, hand-numbered, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

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.

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).

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.

*Reduced until 4-29-2012* (road funds for the Steampunk Symposium trip)

Over 30 works of art, on good paper, and in good inks for ease of coloring – printed at a huge 8.5.x11 inches (17 inches wide when open).  For a coloring book, these things are pretty huge.

I realized when I received these that this book, if not colored in, is pretty much a way to get 30 hang-able prints for under $15, but I am still making it available as a regular item in my store.

This is pretty much 75% of the black and white works for the airships and tentacles book, and a good trial run at that piece. In addition to over 30 images to color with colored pencil, I have little bits written about each artwork: My process in some cases, usage in others, just little strange fiction bits in other places – making it something to read as well as view.

For those who would like to give this book to a younger person, I made it so that the middle page could be removed, thus removing the two images that depict uncovered breasts.

You can view a web resolution PDF of the entire book here: CLICK HERE for PDF

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.

These 15 limited edition prints are printed as giclees (prints in archival pigment inks), for truest color and crispness on thick and heavyweight archival fine art rag paper – with an estimated archival rating of 200 years.

They each are signed by me (Myke Amend), numbered, and dated. The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

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.
The original is 32×24 inches, painted in acrylic on canvas.

This giclee print is the same size as the original which was drawn on acid-free 11×14 inch bristol board in graphite pencil, with an additional 1-inch border all-around to make for easy mounting and to display the beauty of the paper

Printed as a giclee for the truest match in color and detail to the original as possible. They are printed on acid-free heavyweight fine art paper in archival pigment inks for an archival life of 180+ years.

It depicts a strange hut crashing out of the forest and into a sleeping village. Owls circle, tentacles flail and grab, huge metallic legs crush trees and rip the earth below.

15 of these will be printed. Each is hand-signed, numbered, and dated in pencil unobtrusively just within the margin.

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.

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 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 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.

15×18 inch giclee print (printed area 11×14) on fine art rag from the original pencil sketch by Myke Amend, printed in archival pigment inks to make for a 200+ year archival giclee print.

Each is discretely signed, numbered, and dated by the artist in pencil, within the margin.

This limited edition of 10 was made just because I thought it would be a shame for the image not to be available as a monochromatic print, and for those who really like to collect rarities.

The pencil drawing was done as a commission for friend, Violet Ash in June of 2010, a part of a small set of pencil commissions I offered up to raise gas money to the World Steam Expo.

“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.

This one was done while in California, and named for two specialty drinks at Tiki Ti’s in North Hollywood.
Printed area is 6.5 by 9 inches, with a border of 1 inches all around (print size is roughly 8.5 by 11). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
20 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.
Though they were all done within the span of a couple of months, this is one of the earliest of them all.

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.