Mary Cassatt. Letter to Mrs. H. O. (Louisine W.) Havemeyer. June 2, 1906 [excerpts published in Ref. Stein 1993, pp. 242–43], mentions that Vollard is holding two Degas drawings for the Havemeyers, probably this work and "Russian Dancer" (MMA 29.100.556).
Degas: Quatre-vingt-dix-huit reproductions signées par Degas. Paris, 1914, pl. XIII.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 185.
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 3, pp. 618–19, no. 1068, ill., dates it about 1890–95 and calls it a study for "Dancers in the Wings" of the same date (Saint Louis Art Museum; L1066).
Lillian Browse. Degas Dancers. New York, , pp. 59, 403–4, 414, pl. 208, calls it "Danseuse à l'eventail, dans les coulisses" and dates it about 1900–1905; lists it as a study for pastels in the Museum of Fine Arts, Boston, Saint Louis Art Museum, and Wadsworth Atheneum, Hartford (L944, L1066, L1321).
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 134, no. 1064, ill.
Geneviève Monnier. Pastels du XIXe siècle: Musée du Louvre, Cabinet des dessins; Musée d'Orsay. Paris, 1985, p. 69, under no. 60, confuses it with another drawing of a dancer with a fan in the Museum's collection (29.100.188).
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 167, mentions that Cassatt was confident that the Havemeyers "would like two drawings of dancers by Degas that she had asked Vollard to reserve for them" [probably this work and MMA 29.100.556; see Ref. Wold 1993].
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 257, 337 n. 376.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 242, 286, identifies it as probably one of two drawings mentioned by Mary Cassatt in a letter of June 2, 1906 [see Ref. Cassatt 1906] as being held for the Havemeyers by Vollard.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 337–38, no. A254, ill.
Julian Barnes. "The Artist as Voyeur." Modern Painters 9 (Autumn 1996), p. 22.
Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. London, 1996, pp. 48, 72, 188, 298, 307 n. 134, no. 24, ill. p. 203 (color), dates it about 1897–1901; mentions it in connection with Degas's shift in dealers from Durand-Ruel to Vollard, noting that Vollard interested the Havemeyers in this work in May or June 1906; discusses the independent status of drawings such as this one, which was signed, sold, and published; notes that individual figures such as this might later be incorporated into multi-figure compositions.
Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 27, 104, no. 2, ill. (color).
Asher Ethan Miller in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 347, under no. 56, records the sale of MMA 29.100.556 by Vollard to the Havemeyers as "May or June 1906," reflecting Vollard's notation of May 4 and Mary Cassatt's letter of June 2, noting that the sale probably included this work.
Rebecca A. Rabinow and Jayne S. Warman in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Exh. cat., The Metropolitan Museum of Art. New York, 2006, p. 282, note that this picture and MMA 29.100.556 were bought by the Havemeyers for Fr 9,000 on May 4, 1906.
Impressionist & Modern Masters. Exh. cat., Paris Biennale des Antiquaires. [London], 2008, unpaginated, under no. 7, ill. (color).