The Steampunk

With solid wood frame hand-made by Myke Amend, painting Acrylic on Canvas Board, 5×7 inches. Total size 8×11 inches. Part of a three painting series, which is a part of an ongoing series of mini-works (‘Smile’), made in sets of three.

The original painting was commissioned for Robert of Abney Park, and it includes the band’s flagship airship: HMS Ophelia.

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.

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

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.

Though they are open edition, there is no guarantee that they will be printed indefinitely, or for any length of time. They simply have no set number.

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.

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.

This is the third 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.

Squid-like cephalopods swim through the air and fog in an endless field of floating icebergs, taunting these hapless airship explorers.

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.

**Ships Rolled Outside of the US, stretched and Mounted Inside of the US**

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).

“All in all, the experiment was a brilliant success, though it ran for a shorter time than desired.

Ultimately, the machine had to be shut down prematurely, else we might not have had enough crew to make it comfortably back to port. Over forty Russian tribesmen bravely gave their lives to science this day – a terrible tragedy; They will surely be expensive to replace.

Also lost was an entire crate of ether, carelessly dropped from the edge of a berg in the midst of today’s activities – the most terrible happening of the entirety of our icy adventure.

Nevertheless, we saw many wondrous and splendid things this day: creatures and landscapes from the aether danced and swam about us through the air, and we saw the laws of our world temporarily suspended by those of the aether world.

It leaves me to wonder: How closely does the placement of their world correspond with ours? Are these same creatures to be found elsewhere on our planet, or would we perhaps find other inhabitants should the machine be tested in new locations?

What sorts of wondrous and unique beasts might we see in other locations? What splendid things might we discover in the aetherworlds of Beijing, Hong Kong, Indonesia, London, or perhaps New York City?

Needless to say, I am beyond eager to see!”

- Professor Aden M. Kemy, Miskatonic Archivist

These 50 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, hand-signed, and hand-numbered. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

Steampunk Boba Fett in front of his airship “The Slave 1881″, with his trusty rifle.

These prints are printed in archival pigment inks), for brilliant color and crispness on thick and heavyweight archival fine art metallic paper – with an estimated archival rating of 80 years.

The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

“All in all, the experiment was a brilliant success, though it ran for a shorter time than desired.

Ultimately, the machine had to be shut down prematurely, else we might not have had enough crew to make it comfortably back to port. Over forty Russian tribesmen bravely gave their lives to science this day – a terrible tragedy; They will surely be expensive to replace.

Also lost was an entire crate of ether, carelessly dropped from the edge of a berg in the midst of today’s activities – the most terrible happening of the entirety of our icy adventure.

Nevertheless, we saw many wondrous and splendid things this day: creatures and landscapes from the aether danced and swam about us through the air, and we saw the laws of our world temporarily suspended by those of the aether world.

It leaves me to wonder: How closely does the placement of their world correspond with ours? Are these same creatures to be found elsewhere on our planet, or would we perhaps find other inhabitants should the machine be tested in new locations?

What sorts of wondrous and unique beasts might we see in other locations? What splendid things might we discover in the aetherworlds of Beijing, Hong Kong, Indonesia, London, or perhaps New York City?

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

**Ships Rolled Outside of the US, stretched and Mounted Inside of the US**

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 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 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.

This is the Second painting and the Second work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

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 piece depicts a mechanical dragonfly making a nymph from spare parts, with the aid of its creator’s manual.

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

Edition Size: 30

This piece depicts a mechanical dragonfly making a nymph from spare parts, with the aid of its creator’s manual.

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.

A mechanical dragonfly makes a nymph from spare parts, with the aid of its creator’s manual.

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.

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.

Edition Size: 25

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

Printed on Watercolor-textured acid-free Fine Art Rag Paper. Hand signed and numbered in the margin. Print size is 11×14 inches with a half-inch border all around.

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

It 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 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.

Each of these 25 giclees, inspired by H.P. Lovecraft’s Shadow Over Innsmouth and the Dagon movie it spawned, is printed on heavy fine-art rag paper in Epson Ultrachrome k3 archival pigment inks, hand signed, dated, and numbered in the margin by Myke Amend.

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.

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 20 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.

Printed area is 9 by 12 inches, with a border of 1 inches all around (print size is roughly 11 by 14). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.

30 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 very earliest of them all – This was, I think, my 5th such go at engraving.

I was stranded in an ice storm in deepest, darkest Missouri at the time – power was out almost statewide, weeks I in our region. I was reading whatever books were handy, and thinking of someone who was on the other side of 20 miles of fallen trees, darkness, and panicked people. These particular scene out of C.S. Lewis’ Perelandra” struck an accord with me.

Printed area is 7 by 10 inches, with a border of 1 inches all around (print size is 9 by 12). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.

25 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 very earliest of them all.

I did this one while coloring a page for Voltaire’s “Deady Bear” comic book. My coloring on that issue was however rejected – as I went so overboard trying to impress him with my coloring and shading skills, that I lost sight of the fact that it needed to mesh with the other pages (i.e. same coloring style).

Printed area is 11 by 14 inches, with a border of 1 inches inches all around (print size is roughly 13 by 15). It is printed on Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

20 of these are to be printed.

This is the first engraving 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. It was the prototype for the same-named oil painting.

Printed area is 14 by 11 inches, with a border of .5 inches all around (print size is roughly 15 by 12). It is printed on Acid-free Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

30 of these are to be printed.

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 cute little Cthulhu atop a basalt monolith against a sea of golden stars.

Printed area is 9 x 12 inches, with a border of 1 inches all around (total print size is 11 by 14). It is printed on fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist. Each is individually decorated (embellished) by hand by the artist with gold leaf, to match the original engraving, and each is also signed and numbered in the margin.

Only 50 of these are to be printed, each is a unique work of art different from each of the others.

It is printed on heavy metallic professional stock in archival pigment inks

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.