Halt in Front of an Inn
Salomon van Ruysdael (Dutch, 1602/3-1670)
On View

Salomon van Ruysdael lived in Haarlem and was the uncle of painter Jacob van Ruisdael. Salomon was among the artists who developed a new, naturalistic method of landscape painting that was uniquely Dutch in character. It featured simple themes – sand dunes, sky, travelers in the countryside. Thinly painted with delicate glazes, the scenes were described with a limited palette of colors. The style is referred to as the tonal phase of Dutch Landscape painting.

Here a covered wagon and a modest cart, traveling in different directions on the same road, stop at an inn. Passengers and animals take a moment to refresh themselves. The casual appearance of the scene is geometrically structured, however. The large central tree marks the apex of a triangle defined by the two roads continuing obliquely on either side. A shaded patch of earth in the foreground acts as a repoussoir, pushing the central scene back and thereby increasing the sense of depth. Nothing seems forced though as the billowing clouds and raking light suggest the late afternoon pleasures of a day in the country.


  • Artist Name: Salomon van Ruysdael (Dutch, 1602/3-1670)
  • Title: Halt in Front of an Inn
  • Date: 1643
  • Medium: Oil on panel
  • Dimensions: 24-1/8 x 36-1/2 in. (61.3 x 92.7 cm)
  • Credit Line: The Norton Simon Foundation
  • Accession Number: F.1970.09.P
  • Copyright: © The Norton Simon Foundation

Object Information

Leo Collins (a.k.a. Cohen), Vienna, Paris and New York, ca. 1910s/1920s?
[A. S. Drey, Munich, ca. 1925, according to RKD photo mount].
Walter Riess, Leipzig, in 1929, possibly still in 1938.
Jules Roos, Amsterdam and later Westmount, Quebec, by 1944, by inheritance to his son ca. 1968/1969;
Walter Roos, Palm Harbor, Florida, sold October 1, 1969, to;
[Rosenberg and Stiebel, Inc., New York, sold 1970 to;]
The Norton Simon Foundation.

Alte Meister aus Privatbesitz

  • Leipzig, Stadtsmuseum, 1929-09-22 to 1929-10-31

Loan Exhibition of Great Paintings: Five Centuries of Dutch Art

  • Montreal, Art Association, 1944 to

[on loan]

  • Oberlin College, Dudley Peter Allen Art Museum, 1970-03-19 to 1970-08-25

[on loan]

  • Los Angeles County Museum of Art, 1970-08-26 to 1974-11-26
  • Gerson, Horst, The Connoisseur, fig. 9 pp. 162-171
  • Stechow, Wolfgang, Salomon van Ruysdael, no. 147, ill. 21 pp. 21f., 90
  • Art News, p. 20
  • Leipzig, Statdsmuseum, Alte Meister aus Privatbesitz, 1929, no. 94
  • Stechow, Wolfgang, Salomon van Ruysdael, eine Einfuhrung in seine Kunst, 1938, no. 147 pp. 21, 84
  • Art Association, Loan Exhibition of Great Paintings: Five Centuries of Dutch Art, 1944, no. 40
  • Stechow, Wolfgang, Dutch Landscape Painting in the Seventeenth Century, 1968, fig. p. 27
  • Drucker, Peter F., Adventures of a Bystander, 1978, p. 209
  • Norton Simon Museum, Selected Paintings at the Norton Simon Museum, 1980, p. 63
  • Sutton, Peter C., A Guide to Dutch Art in America, 1986, p. 217
  • Sutton, Peter C., et al., Masters of 17th Century Dutch Landscape Painting, 1987, fig. 1 p. 470
  • Masterpieces from the Norton Simon Museum, 1989, p. 67
  • P. & D. Colnaghi & Co., Old Master Paintings and Drawings, 2003, II: Landscape with a Carriage and Horsemen before an Inn, with Drovers and Cattle (Peter C. Sutton)
  • Campbell, Sara, Collector Without Walls: Norton Simon and His Hunt for the Best, 2010, cat. 729 p. 332

Additional Artwork by Artist

Landscape with Sandy Road Salomon van Ruysdael 1628

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