Behind this deception is not a mastermind but an Australian graduate student named Ellie Shipley, who was approached by a secretive art dealer to replicate the painting.
Until one fall day in 1957 it’s plucked off his wall and replaced by a meticulously executed forgery. At the Edge of the Wood is the only work attributed to Sarah de Vos, and it’s hung above the marital bed in Marty’s Park Avenue triplex for generations. Marty de Groot, a Manhattan lawyer plagued by infertility and the stuffiness that comes from centuries of familial wealth, has one special thing to his name: a collection of 17th-century Dutch paintings, including rare pieces by female artists of the era. Smith’s latest novel ( Bright and Distant Shores, 2011, etc.) is a rich and detailed story that connects a 17th-century Dutch painting to its 20th-century American owner and the lonely but fervent art student who makes the life-changing decision to forge it.
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