# Annotated bibliography and record guide > **Status, prepared 5 October 2026.** The Kettering rows below recorded the September reading scope. Part I has since been consulted for the seven watermark entries and for the correction of M 18 in [research note 15](/en/research/rembrandt-school/young-draughtsman-drawing/notes#note-15). Part II, pp. 776–802, has not been read. Those September sentences are not the current watermark finding. This guide identifies the substantive public records and publications used in the dossier. **Read** means the named pages, entry, or specified passage was inspected during this research; it never means an entire multi-volume publication was read unless stated. **Located, not fully read** means it is a useful locator only. A source about a comparator or a historical practice does not attribute the present sheet. ## The three core comparison records | Reference | What was checked | What it supports, and its limit | |---|---|---| | RKD, *Zittende jongeman aan een tafel, 17de eeuw*, no. 116036, | **Read:** public record and its colour-reproduction / black-and-white-photograph image entries, accessed September 2026. | **SOURCE-REPORTED:** a seventeenth-century anonymous Northern Netherlandish drawing on blue paper with black and white chalk. It is the closest documented compositional comparator in the material examined. It does not identify the present sheet, its sitter, authorship, the direct image source, or a transfer mechanism. | | Sotheby's, *Old Master Drawings*, London, 6 July 2005, lot 141, printed p. 159. | **Read:** supplied scan of the printed catalogue page. | **SOURCE-REPORTED:** the printed Dutch-School lot title, technique, dimensions and a reported `Terburg` inscription. The inscription is a catalogue report, not a published authentication of an artist's signature. The catalogue page does not establish the source or date of the RKD images. | | Christian Dittrich and Thomas Ketelsen (eds.), *Rembrandt. Die Dresdener Zeichnungen* (Dresden: Staatliche Kunstsammlungen Dresden, 2004), cat. 95, pp. 170–171, notes p. 213; current SKD record C 1421, . | **Read:** specified catalogue entry / notes and current institutional record. | **SOURCE-REPORTED:** a qualified attributional and sitter history for C 1421, including the historical Titus proposal. The catalogue's comparison group and workshop-session discussion concern its own objects; they do not name the present sheet or RKD 116036. Its reported C 1421 dimensions (183 × 140 mm) contradict the unrelated 13.7 × 10.3 cm figure in a supplied slide. | ## Authorship, workshop, and sitter controls | Reference | Status | Proper use | |---|---|---| | Jochem van Eijsden, “Samuel van Hoogstraten as Rembrandt's teaching assistant,” *Kroniek van het Rembrandthuis* 2024/25, pp. 7–21, DOI . | **Read:** article/PDF and indicated pages. | A recent scholarly proposal concerning Samuel and Barent in the Rembrandt environment. It is not an institutional reattribution of the present sheet, C 1421, or RKD 116036. | | Peter Schatborn, “Drawings Attributed to Carel Fabritius,” *Oud Holland* 119, nos. 2–3 (2006): 130–138, DOI . | **Read:** indicated article and pages. | A crucial qualified Carel control: the article stresses the insecure basis of much of the proposed Carel drawing corpus. It prevents treating Carel as either a secure authorial corpus or an automatic exclusion. | | Museum Boijmans Van Beuningen, *Titus at His Desk*, St 2, 1655, . | **Read:** current record. | Its possible Titus identification is deliberately qualified. It is a contextual sitter control, not a facial identification of any drawing in this dossier. Any reproduction retains the object-specific rights status recorded in the package manifest. | | Kunsthistorisches Museum, *Titus van Rijn, der Sohn des Künstlers, lesend*, GG 410, c. 1658. | **Read:** current record. | A firm institutional Titus control for an adolescent sitter, while its own description qualifies the work as an intimate scene rather than a portrait in the strict sense. The record must not be merged with the differing 1656/57, inv. 411 and size details reported in an older C 1421 note. | | Wallace Collection, *Titus, the Artist's Son*, P29, c. 1657; Louvre, *Portrait de Titus*, RF 1948 34, c. 1662. | **Read:** current records. | Useful comparison controls with different levels of institutional confidence. They do not establish a profile match or transfer Titus to the present sheet, RKD or C 1421. | | Holm Bevers, Lee Hendrix, William W. Robinson and Peter Schatborn, *Drawings by Rembrandt and His Pupils: Telling the Difference*, exh. cat. (Los Angeles: J. Paul Getty Museum, 2010), 304 pp.; Getty online exhibition, “Rembrandt's Workshop Drawing,” 2009–10. | **Read:** the online exhibition page; **located, not fully read:** the catalogue. | The exhibition documents a c. 1641 landscape-drawing practice in which master and pupils made nearby views. It establishes a general precedent, not a particular shared session, date or sitter for the three case drawings. | ## Ter Borch records and literature | Reference | Status | Proper use | |---|---|---| | Alison McNeil Kettering, *Drawings from the Ter Borch Studio Estate in the Rijksmuseum*, 2 vols. (The Hague: Staatsuitgeverij, 1988), 896 pp.; Rijksmuseum publication record . | **September 2026:** bibliographic metadata and object-level citations; both volumes not fully read. **5 October 2026:** part I consulted for GSr 62, GJr 12, GJr 50, GJr 93, H 17, H 19, M 46 and the correction of M 18. **Not read:** part II, pp. 776–802. | Principal catalogue. The September limit no longer means that the part I watermark entries are unquoted. The missing plates are still not images already inspected. | | Rijksmuseum, **RP-T-1887-A-1327**, *Boy Squatting to Relieve Himself beside a Dog*, attributed to Moses ter Borch, c. 1656–57. | **Read:** public metadata, and Kettering part I, p. 296, on 5 October 2026. | **SOURCE-REPORTED:** Dutch metadata `Schild met kroon`. Kettering suggests a possible lamb fragment in a crowned shield, with Moses, Gesina and Harmen alternatives. Not a positive lily example, and not the lead for the present comparison. | | Rijksmuseum, **RP-T-1887-A-1174**, *Elijah Visited by an Angel in the Desert*, school of Rembrandt; Kettering FC47, p. 733; Schatborn 1985, no. 78. | **Read:** record and online scholarly catalogue. | The record's `Crown with a fleur-de-lis` is a methodological warning: the drawing is not catalogued as Ter Borch merely because it came from the Ter Borch estate. It is not a material match for the present sheet. | | Städel, **923 Z**, Moses, *Standing Youth in Naval Uniform*; **924 Z**, Gerard II **?**, Moses alternative by mount; **2916 Z/2917 Z**, the copied `Abklatsch` pair. | **Read:** current records. | Exact qualifiers, watermarks (`B with crown`; `shield with wings [?] and B`) and the pair-specific copy/decalcomania description should be retained. The 2916/2917 relationship does not establish the present sheet–RKD mechanism. | | Gerbrand Korevaar and Gwen Tauber, “Gerard ter Borch Repeats: On Autograph Portrait Copies in the Work of Ter Borch (1617–1681),” *The Rijksmuseum Bulletin* 62, no. 4 (2014): 348–381, DOI , p. 360, fig. 8. | **Read:** text, pagination and identified figure. | Documents variable underdrawing and reinforcement in particular Ter Borch cases. It does not examine the present sheet, RKD 116036 or the 2005 lot; it cannot establish a general mechanical-copy rule. | | Cleveland Museum of Art, *A Man Standing Seen from the Back*, 1941.603, . | **Read:** current record and open-data entry. | The museum attributes the drawing to Gerard ter Borch and transcribes `Gérard Terburg` on the verso in graphite plus a separate printed label. Those are documented marks, not a museum-certified autograph signature. | | Fondation Custodia, Moses ter Borch, inv. 5111, . | **Read:** current French/English records. | A family-attribution history and reverse inscription are useful controls. The language versions differ on the reported medium of `v. J. Terburg`; the inscription should therefore be cited as an inscription, without asserting its medium. | | John Smith, *Supplement to the Catalogue Raisonné*, part IX (London, 1842), pp. 529–537; Émile Michel, *Gérard Terburg (Ter Borch) et sa famille* (Paris, 1887), selected pp. 5–6, 21–22, 25–26, 31, 35, 41, 54, 57, 68–70. | **Read:** stated selected passages only. | Historical evidence of catalogue instability, family albums, repetitions and false or disputed labels. Neither source gives an object-specific link to the present sheet, RKD 116036 or lot 141. | ## Watermark method and technical records | Reference | Status | Proper use | |---|---|---| | Rijksmuseum, *The Watermarks Project*, . | **Read:** current project page. | Reports a 2024 project using low-energy radiography for roughly 4,000 seventeenth-century Dutch drawings, an internal/preliminary index and future open publication; it identifies Aurora Belli as Research Technician / Junior Paper Conservator. This is a route for a future limited enquiry, not a public present-sheet match database. | | National Gallery of Victoria, Bonnie Hearn, “Rembrandt's watermarked papers”; NGV watermarks resource, . | **Read:** online discussion/database material. | Explains that watermark and countermark may appear in different portions of a sheet and that variants require full structural comparison. It does not document Ter Borch or present-sheet paper. | | WZIS/Piccard, Briquet, and WIRP methodology. | **Located / used as comparison method; no single present-sheet match verified.** | Appropriate for a full transmitted-light record with chain lines, laid lines, orientation, dimensions and wire deformations. Motif resemblance or initials alone do not establish a mould, a ream, a workshop or an author. | ## Earlier C 1421 reproduction locators | Reference | Status | Proper use | |---|---|---| | Kurt Freise, Karl Lilienfeld and Heinrich Wichmann (eds.), *Rembrandts Handzeichnungen*, vol. III (Parchim: Hermann Freise's Verlag, 1925), p. 16, no. 50. | **Located; plate not inspected.** | An earlier C 1421 illustration locator reported in the Ketelsen bibliography. It corrects an incomplete later reproduction chronology, but does not yet establish first publication or image genealogy. | | Walther Scheidig, *Rembrandt als Zeichner* (Leipzig: E. A. Seemann, 1962), p. 60, fig. 130. | **Located; figure not inspected.** | The same limited value: a documented bibliographic lead, pending review of the physical/digital figure. | ## Citation rule for this dossier Institutional attributions, object measurements, techniques, inscriptions and watermark phrases should be cited to the specific object record. Historical and scholarly sources should retain their stated qualification. Repeated web reproductions, general books on the artist, or a shared sitter/subject may generate a testable question; they do not supply independent corroboration of the present sheet's authorship, provenance, dating or transfer history.