In 1632 Rembrandt began to establish himself on the Amsterdam art market. There are three works in the Gemäldegalerie Alte Meister, Kassel, that are signed and dated 1632. A comparative art-historical and technical study reveals strongly differing painting styles, which in the past have led to disattribution or allocation to the workshop. Today, two works are considered to be autograph: Portrait of a Man Trimming his Quill and Bust of an Old Man Wearing a Golden Chain. In contrast, Bust of an Old Man with a Bald Head is assigned to the master’s workshop. This article synthesises investigations undertaken so far and clarifies the range of painterly means in Rembrandt’s production during this formative year.