The Last Painting of Sara De Vos (Hardcover)

By Dominic Smith

Sarah Crichton Books, 9780374106683, 304pp.

Publication Date: April 5, 2016

List Price: 26.00*
* Individual store prices may vary.

April 2016 Indie Next List

“Smith's new novel unfolds slowly, and each moment of illumination offers a glimpse into the true heart of this quiet, captivating tale. Spanning more than three centuries, it is the story of three lives --a female master painter of the Dutch Golden Age, a moneyed New York patent attorney, and an art history student turned one-time art forger -- each changed by one haunting painting. Filled with hurt, grief, and deceit, but also layered with love, grace, and regret, The Last Painting of Sara de Vos is a wonderful read, beautifully written.”
— Heather Duncan (M), Tattered Cover Book Store, Denver, CO
View the List


"Written in prose so clear that we absorb its images as if by mind meld, "The Last Painting" is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it's fiction that keeps you up at night -- first because you're barreling through the book, then because you've slowed your pace to a crawl, savoring the suspense." --Boston Globe

A New York Times Bestseller

A New York Times Book Review Editor's Choice


Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city's Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it.

New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer's marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict.

Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.

About the Author

Dominic Smith grew up in Australia and now lives in Austin, Texas. He's the author of three other novels: Bright and Distant Shores, The Beautiful Miscellaneous, and The Mercury Visions of Louis Daguerre. His short fiction has been nominated for a Pushcart Prize and has appeared in The Atlantic, Texas Monthly, and the Chicago Tribune's Printers Row Journal, among other publications. He is the recipient of a new works grant from the Literature Board of the Australia Council for the Arts, a Dobie Paisano Fellowship, and a Michener Fellowship. He teaches writing in the MFA Program for Writers at Warren Wilson College.

Conversation Starters from

  1. What does At the Edge of a Wood mean to Sara, Marty, and Ellie? How did your reactions to the painting shift throughout the novel?
  2. How does the memory of Kathrijn influence Sara’s art? What are Sara’s perceptions of mortality and the natural world?
  3. What does the novel reveal about the distinctions between artists and art historians, and between collectors and dealers? Is art forgery a form of art?
  4. What empowers Ellie and Sara despite the chauvinism they face when they launch their respective careers?
  5. Would you want the Rent-a-Beats at your party? In their disdain for capitalism, do they do a good job of exposing the plight of someone like Sara?
  6. As you read about the great lengths taken to transport the painting from the museum in Leiden, what came to mind about the value of a fake? What value should Ellie’s painstakingly created painting possess? How does the muddy nature of falsehood and illusion shape her relationship with Marty?
  7. As you observed the stark difference between the Guild of St. Luke in the Netherlands and the modern auction scene in Manhattan, what did you discover about the economics of the art world? Has the patronage system that provided Sara with a benefactor (through Barent’s creditor, Cor- nelis Groen) disappeared?
  8. If you had been in Ellie’s situation, would you have accepted Gabriel’s invitation to “restore” At the Edge of a Wood?
  9. Discuss the three marriages portrayed in the book: Sara and Barent, Sara and Tomas, Marty and Rachel. When does love flourish in the novel? What causes it to fade?
  10. What is Marty seeking on his sojourn to Sydney? What realizations emerge when he and Ellie are reunited? What misconceptions are laid to rest?
  11. Beyond additional paintings, what is Ellie seeking when she makes the pilgrimage to Edith Zeller’s bed-and-breakfast?
  12. Consider the author’s decision to make the Dutch Golden Age his backdrop. What particular qualities permeate the novel as a result of that choice?
  13. Does At the Edge of a Wood convey any messages that endure across the centuries? What would Sara think if she could have known the fate of her work?
  14. How does The Last Painting of Sara de Vos enhance the portraits of humanity presented in other novels by Dominic Smith that you have enjoyed?