L’Oracle du Mort: One of many amazing clockwork pieces by Thomas Kuntz to be featured here in the Archive.
Thomas Kuntz, a professional artist for over 20 years, began as a sculptor of Commercial Toys, but later gained notoriety circa ’89-98 as a pioneer in the making of model kits based on old silent films like Nosferatu, The Man Who Laughs, Vampira, and others.
After a period of time Kuntz found that merely sculpting his dark creations was not nearly enough for him, and that he wanted to give life to his creations through mechanical, perhaps supernatural means… This change in method resulted in some of the darkest and most interesting automations known to man, and not nearly as many fatalities and disappearances as may be rumored.
You may have seen Thomas’ twisted creations in many places, though you may not have been aware of the crafter behind them, or the astounding degrees of meticulous craftsmanship responsible for their being. Mr. Kuntz’ creations have served in the armies and arsenals of many noteworthy people, interesting types such as Kevin Ogilvie, a.k.a. Nivek Ogre, frontman of theatrical post-punk industrial band “Skinny Puppy”. Thomas has made mechanical props for the band, and for Nivek alone, with pieces for use on stage, and for use in video.
In his workshop, Thomas Kuntz controls an army of clockmaking lathes from 1880-present, and each piece he creates is more said to be more exquisite than the last. There are only a handful of builders in the world who make automata, and no one does it like Mr. Kuntz. (more…)
“All in all, the experiment was a brilliant success, though it ran for a shorter time than desired.
The Resonator 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 as 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 – a tragedy on so many levels.
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 variants or unique beasts might we see in other locations such as Beijing, Hong Kong, Indonesia, London or perhaps even New York City?
Needless to say, I am beyond eager to see!”
- Professor Aden M. Kemy, Miskatonic Archivist
This giclee, commemorating the event is available while supplies last, in three limited editions of 50: A giclee on Canvas, an archival pigment ink print on heavy metallic stock, and a fine-art rag paper print. All of which 24 inches by 24 inches – the size of the original painting by Myke Amend.
First available, is this limited edition giclee on canvas, printed in archival pigment inks on 200-year archival canvas, coated in a UV-protective and scratch-resistant coating, stretched and mounted for framing.
It comes with a watermarked hahnemuhle certificate of authenticity printed on fine art rag paper, with a matching and serial-numbered hologram on both the back of the giclee print and the certificate. All giclees are hand-signed and numbered in paint (see the signature on the image) and also signed, dated, and numbered in archival ink on the back of the mounted print.
We of the Miskatonic Archive have been rather indisposed these last few weeks – Myke Amend has been working away at commissions, home repairs, income taxes and the like. Bethalynne Bajema has been finishing up her Tarot card set and seeking publishers. All the archive members have been up to their ears in much of the same.
Our goal here has always been to bring some of the best and most interesting literature, artwork and inventions that fit into our school’s advanced metaphysics curriculum, but we have not had a lot of submissions lately, and our exploration budget has been drastically cut for this fiscal year.
So, here is our reminder, that we do take submissions, and do rather enjoy them. There is only so much that can be found searching online, and many of the places we find things are many of the places people such as you, such as us already tend to frequent.
We would like to do more than to simply mirror content from our and your favorite sites, and since I am sure there are a lot of you who have not been featured in these places who would like to be featured, this is a friendly reminder that such is an option.
For image submissions we ask that you send us a link to your site, and a list of images by title that we are allowed to feature – the same would go for film clips and animations. For literature submissions, you can send such things through our form, or in the case of longer stories, you can simply contact us through the form and we will get back to you on the particulars. For any submissions, you retain all rights, and grant us the rights to reproduce it here on this site, for as long as you wish to share it here.
Thank you for reading, and we do hope to hear from you soon. If yoou are a first time visitor, or are confused as to what may apply, please read the keywords attached to this entry.
An earlier painting by Myke Amend, now available in printed form at 11×14 inches and printed edge to edge in high detail.
The Vineyard depicts a strange sort of harvest, or perhaps a strange means of conception, making for a very Lovecraftian strange-fiction themed image, brilliantly, vividly colored, yet oh so dark.
Printed in 200 years archival pigment ink, heavy metallic stock in order to best bring out the rich colors and contrast of this vibrant piece.
A UV-protective lustre finish also helps protect the print against moisture and scratches.
Print size (edge to edge) is 11 x 14 inches, and can be purchased at mykeamend.com, or at Beth and Myke’s Joint Etsy Account: Ettadiem
Horrible beyond conception was the change which had taken place in my best friend, Crawford Tillinghast.
I had not seen him since that day, two months and a half before, when he told me toward what goal his physical and metaphysical researches were leading; when he had answered my awed and almost frightened remonstrances by driving me from his laboratory and his house in a burst of fanatical rage. I had known that he now remained mostly shut in the attic laboratory with that accursed electrical machine, eating little and excluding even the servants, but I had not thought that a brief period of ten weeks could so alter and disfigure any human creature. It is not pleasant to see a stout man suddenly grown thin, and it is even worse when the baggy skin becomes yellowed or grayed, the eyes sunken, circled, and uncannily glowing, the forehead veined and corrugated, and the hands tremulous and twitching. And if added to this there be a repellent unkemptness, a wild disorder of dress, a bushiness of dark hair white at the roots, and an unchecked growth of white beard on a face once clean-shaven, the cumulative effect is quite shocking. But such was the aspect of Crawford Tilllinghast on the night his half coherent message brought me to his door after my weeks of exile; such was the specter that trembled as it admitted me, candle in hand, and glanced furtively over its shoulder as if fearful of unseen things in the ancient, lonely house set back from Benevolent Street.
That Crawford Tilinghast should ever have studied science and philosophy was a mistake. These things should be left to the frigid and impersonal investigator for they offer two equally tragic alternatives to the man of feeling and action; despair, if he fail in his quest, and terrors unutterable and unimaginable if he succeed. Tillinghast had once been the prey of failure, solitary and melancholy; but now I knew, with nauseating fears of my own, that he was the prey of success. I had indeed warned him ten weeks before, when he burst forth with his tale of what he felt himself about to discover. He had been flushed and excited then, talking in a high and unnatural, though always pedantic, voice. (more…)
“We shall see that at which dogs howl in the dark, and that at which cats prick up their ears after midnight. We shall see these things, and other things which no breathing creature has yet seen. We shall overleap time, space, and dimensions, and without bodily motion peer to the bottom of creation!”
Slow or dormant pineal gland? Unable to see Ultraviolet? Ever wonder what is out there in the ether swimming about your head, crawling on your dinner plate?
The Resonator is guaranteed to solve these and other problems!
… Unfortunately, due to a recent accident, the actual resonator itself is currently unavailable.
Quality metallic luster coated prints commemorating its first use, however, are available. These 5×7 prints have an archival rating of 200+ years, and are printed the same size as the original engraving by Myke Amend, on heavy metallic stock, in quality archival pigment inks, with a UV-resistant and scratch resistant coating!
Order yours now!… wait! Stand still for just a moment,I urge you! Okay, it has passed on to the other room. Okay, Order yours now, before it comes back!
This is a limited time, limited edition printing of the airship H.M.S. Gadreel. It is one of a great many details within “Behold the Machine”, a large painting done by Myke Amend for Vernian Process’ upcoming album.
The original is painted on a 48 x 24 inch birch panel in acrylics.
These are not mere photographic prints, nor are they at-home inkjet printings.
This print is finely reproduced on 11×14-inch heavyweght 200-year archival metallic paper, with epson ultrachrome k3 archival inks, and coated in a UV protective luster finish.
To finish it off, each of this limited edition of only 75 is signed and hand-embellished by Myke Amend in silver archival ink.
We are pleased to announce that “Some Ghouls Wander by Mistake”, a Strange-Fiction Horror Action Lovecraftian Gothic Steampunk Art Noir Dark Comedy, is now in print.
It is available available for presale (shipping on or around November 15th) at sgwbm.com, where you will also find a 21-page free preview available on the site.
