Numbered in the lower right corner 1858 (Sparre) and 201 (struck out). Mark of the Royal Collection (Lugt 1638).

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1 1 #67 Sitting Youth Pen and brown ink, 198x132 mm NM 2058/1863 Ruled framing lines in brown ink. Numbered in the lower right corner 1858 (Sparre) and 201 (struck out). Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (Cat. 1749, livre 15, no. 19) *Kongl. Biblioteket (Cat. 1790, no. 1858) *Kongl. Museum (Lugt 1638) Bibliography: W. R. Valentiner, Rembrandt und seine Umgebung, 1905, p. 61 (Rembrandt) *F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, I. Series, Berlin , no. 16 (Rembrandt) *Hofstede be Groot 1906, no (Rembrandt) *Kruse & Neumann 1920, no. IV:14 (Rembrandt) *Kruse & Neumann 1921, no. IV:14 (Rembrandt) *Valentiner II, 1934, nr. 717 (Rembrandt) *Benesch , under no (school) F. Lugt , III, under no *S. Slive, Drawings of Rembrandt, New York 1965, no. 233 *Benesch 1973, V, under no (school)

2 2 Exhibitions: Amsterdam, 1935, no. 91 *Stockholm 1956, no. 169 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no.233 (not exhibited) It has been generally assumed that the model is Rembrandt s son Titus, and a drawing in the Louvre seems to confirm this. Only Benesch rejects the identification of the model, since it does not fit in his chronological scheme: he considered the drawing one of the very last specimens of Rembrandt s art of drawing. This seems too late. Slive, like Lugt, dates the drawing in the late 1650s and think the identification probable. 1 The drawing is no doubt a school work. 1 See, most recently S. Slive, Rembrandt Drawings, Los Angeles 2009, pp. 18f, fig. 2.6.

3 3 #68 Old man Reading Graphite, pen and brown ink, brown wash, 104x91 mm NM 2067/1863 Double, ruled framing lines in brown ink. Inscribed at the lower left Mettre en bordure, and numbered in the lower right corner 1867 (Sparre) and 211 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 6) *Kongl. Biblioteket (Cat. 1790, no. 1867) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. IV:36 (school) *Kruse & Neumann 1921, no. IV:36 (school) *Benesch 1973, no. C85 (copy, not reproduced) According to Benesch after an unknown original.

4 4 #69 Sitting Man, Seen in Profile Black chalk, pen and brown ink, on grey paper, 138x108 mm NM 2071/1863 Ruled framing lines in brown ink. Numbered in the lower right corner 1870 (Sparre) and 215 (struck out). Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 10) *Kongl. Biblioteket (Cat. 1790, no. 1870) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. I:7 *Kruse & Neumann 1921, no. I:7 A flat head-gear has been changed into a high turban and a cloak added with a few strokes. As for the model, cf. a chalk drawing attributed to Gerard Dou. 2 The same hand as the following drawing. 2 Sumowski, Drawings, 3, 1980, no. 538xx.

5 5 #70 Sitting Man, Turning to his Right Black chalk, pen and brown ink, on grey paper, 110x87 mm NM 2073/1863 Ruled framing lines in brown ink. Numbered at the botton centre 1872 (Sparre) and in the lower right corner 213 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 8) *Kongl. Biblioteket (Cat. 1790, no. 1872) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. I:8 *Kruse & Neumann 1921, no. I:8 See the previous drawing. The same manner is seen in a drawing in Turin. 3 3 Valentiner, I, 1925, no. 83.

6 6 #71 Head of an Old Man Red chalk, counter-proof, 112x115 mm NM 2652/1863 Ruled framing lines in black ink. Numbered in the upper right corner 2547 (Sparre), pen and brown ink, and in the lower right corner 2652, in pencil. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 38; Cat. 1749, livre 17, no. 243) *Kongl. Biblioteket (Cat. 1790, no. 2547, as Mellan) *Kongl. Museum (Lugt 1638) Probably a counter-proof of a head of an old man of the type that Lievens and Rembrandt produced during the Leiden years. The model seems to be the same as they used, but the drawing seems too simplified. 4 4 Benesch 1973, I, nos. 16, Cf. Sumowski, Drawings, 7, 1983, no. 1643x; Bevers 2006, no. 4; L. Hendrix, in Drawings by Rembrandt and his Pupils (exh. Cat.), Los Angeles 2009, pp. 44ff.

7 7 #72 Man Wearing a Fur Hat Point of brush in grey, reworked with black chalk, 91x94 mm NM 2081/1863 Ruled framing lines in black ink. Inscribed in the lower right corner Rimbrand and numbered 3, in the upper right corner numbered 1880 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 36v; Cat. 1749, livre 17, no. 173) *Kongl. Biblioteket (Cat. 1790, no. 1880) *Kongl. Museum (Lugt 1638) The drawing is disfigured by additions in dark, black chalk (19th c.?), adding accents to the eyes, mouth, chin, as well as the chain across the breast and dress.

8 8 #73 Bust of an Old Man, and an Old Woman Leaning Forward Pen and grey-brown ink, grey wash, on grey paper, 157x120 mm NM 119/1866 Ruled framing lines in brown ink, missing along the left side. Upper right corner damaged. There is an ink smear in the old man s face. No watermark. Chain lines: 23 mm. Numbered in the upper right corner with a triangle in red ink, and 96 in pen and brown ink (Karlberg Collection). Provenance: King Karl XV (Karlberg collection); Kongl. Biblioteket; To the museum in 1866 (not attributed). The drawing clearly belong to the circle of Rembrandt. Of drawings in his own hand, the closest parallel would be a drawing in Berlin with studies for the painting St. John Preaching, with the same expressive faces, drawn with thin pen strokes and fine parallel hatching. 5 Even closer in style is a 5 Bevers 2006, no. 12.

9 9 drawing in Rotterdam with four sketches Saskia, especially with regard to the lose handling of the arms and shoulders of the old man. 6 However, this manner is also frequent in a large number of school drawings, no longer considered autograph. It may be the same hand as in several drawings attributed to Jan Victors by Sumowski. 7 6 Giltaij 1988, no Sumowski, Drawings, 10 (1992), nos. 2330a xx (Amsterdam art market), 2238 xx (Dresden), 2239a xx (Louvre), 2230 xx (Unknown place).

10 10 #74 Shepherd wth a Lamb Black chalk, 75x92 mm. NM 140/1973 Ruled framing lines in black ink. Mark of J. G. De la Gardie (Lugt 2722a). Provenance: Prince Charles de Ligne (Bartsch 1794, p. 205, no. 26, Rembrandt); Duke Albert of Sachsen-Teschen; Count J. G. De la Gardie (Lugt 2722a); Gift to the museum in Rembrandt made a number of small chalk sketches like this one, preserved in Berlin and other collections. This little figure, esquissée avec beaucoup d esprit according to Bartsch, should be compared to the Blind Man with a Boy and a Dog in Berlin, in its angular manner and the insertion ofa few strong accents. 8 However, the contrast between the thinner lines and the accents seems greater, and the chalk lines that define the ground are a bit too fuzzy in comparison. 8 Bevers 2006, no. 31, dated c

11 The type of figures, a man seen from behing with a stick over the shoulder, accompanied by animals or not, dissappearing down a slope, is common staffage in landcapes. A quick sketch like this could be by a number of artist. It does not even have to be Dutch; interestingly, an old inscription on the mount reads Sc. Ted. (scuola tedesca), suggesting perheps a German 18 th century landscapist several are well represented in the De la Gardie collection. 11

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