On New Editions…

Felix Unbound reappears this midsummer, in the form of a second edition in paperback of my tale of feline transmogrification, artworks and human vanity, and I’m looking forward to introducing him to some new readers. 

To celebrate, and while under the influence of a very different artist after a recent visit to Amsterdam’s Rijksmuseum, I recently jumped at the chance to acquire a new edition of my very own Vermeer. Well, sort of.

This copy, unlike the priceless original, features a most Felix-like cat that’s not in the 17th century original, yet so easily could have been.

It’s a print channelling Vermeer’s painting of a maid pouring milk from a jug, ready to make a bread pudding; and is the work of talented Canadian-born printmaker Mychael Barratt.  His skilful and witty series adding animal riffs to – and in the manner of – iconic artworks, is such fun.  In this instance, ‘Vermeer’s Cat’ proved both irresistible and affordable.  

I’d just seen the cat-free, c. 1657 original painting of Vermeer’s contemplative milkmaid in Amsterdam so perhaps was primed to be amused and enchanted at the Affordable Art Fair in London’s Hampstead, by the watchful tabby cat that’s now inveigled itself onto the scullery table, in Mychael’s version.

The time-travelling feline reminded me so greatly of the real cat who had inspired Felix Unbound and his curious history, that I couldn’t leave Mychael’s stand at the art fair earlier this summer without my own copy of Vermeer’s Cat  to enjoy at home.

You can check out many of Mychael’s other works in this playful series in his book The Master’s Muse, Artists’ Dogs and Cats, for a very witty tour of art history that’s not to be missed – and look out for other prints, and news of upcoming shows on www.mychaelbarratt.com.

More about Felix soon, too!