Madame Théodore Gobillard. Letter to Berthe Morisot. June 26, 1869 [published and translated in Ref. Rouart 1957, p. 36], mentions a sketch that Degas has just completed of her and comments "I doubt if he can transfer it onto the canvas without spoiling it".
Marie-Cornélie Morisot. Letter. May 23, 1869 [published and translated in Ref. Rouart 1957, p. 35], remarks that Degas is "mad about Yves' face" and that he is sketching her portrait, noting that "he is going to transfer onto the canvas the drawing that he is doing in his sketchbook".
Berthe Morisot. Letter to Edma Morisot. May 11, 1869 [published and translated in Ref. Rouart 1957, p. 33], mentions that Degas has asked to paint a portrait of her sister, commenting "Yves has certainly made a conquest of Monsieur Degas".
"The H. O. Havemeyer Collection." Parnassus 2 (March 1930), p. 7.
Harry B. Wehle. "The Exhibition of the H. O. Havemeyer Collection." Metropolitan Museum of Art Bulletin 25 (March 1930), p. 55.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 114–15, ill.
Guillaume Lerolle. Letter to Bryson Burroughs. December 4, 1931, quotes a letter from Ernest Rouart identifying the sitter and remarking that this picture, painted in 1869, is an enlargement of the preparatory drawing then owned by Mme Paul Valéry (MMA 1984.76).
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 1, p. 58; vol. 2, pp. 110–11, no. 213, ill., dates it 1869.
John Rewald. The History of Impressionism. New York, 1946, p. 188, ill. p. 182.
Degas's Portraits of his Family and Friends. Exh. cat., Minneapolis Institute of Arts. Minneapolis, 1948, unpaginated, erroneously dates it 1879.
The Correspondence of Berthe Morisot. New York, 1957, pp. 33, 35–36, [see Refs. Morisot 1869 and Gobillard 1869].
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, pp. 264–67, calls it her best and perhaps last acquisition of Degas's works.
John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, p. 222, ill. p. 226.
Jean Sutherland Boggs. Portraits by Degas. Berkeley, 1962, pp. 27, 31, 119, pl. 64, comments on Degas's use of some of the squaring lines on the preparatory sketch (MMA 1984.76) in the composition of the painting.
Louise Burroughs. "Degas Paints a Portrait." Metropolitan Museum of Art Bulletin 21 (January 1963), pp. 169–72, ill. inside cover, dates it probably 1869; illustrates the two pencil sketches and the pastel head.
Eugenia Parry Janis. "The Role of the Monotype in the Working Method of Degas—I." Burlington Magazine 109 (January 1967), p. 25, asserts that the sitter and her sister Berthe Morisot considered the pastel (MMA 1976.201.8), rather than the "painted attempt," to be the finished portrait.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 65–66, ill., date it July 1869.
Theodore Reff. "The Pictures within Degas's Pictures." Metropolitan Museum Journal 1 (1968), pp. 125–26.
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 97, no. 249, ill.
John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, p. 222, ill. p. 226.
Charles S. Moffett and Elizabeth Streicher. "Mr. and Mrs. H. O. Havemeyer as Collectors of Degas." Nineteenth Century 3 (Spring 1977), pp. 26, 28, fig. 7, date it about 1869.
Jacob Bean in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, p. 57.
Ira M. Horowitz. "Whistler's Frames." Art Journal 39 (Winter 1979–80), p. 130, states that this picture's frame was designed by Degas, and was perhaps originally painted "to harmonize with the overall color theme of the picture".
Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, pp. 6–9, colorpl. 5, dates it about 1869 in the caption and states that it was executed in July 1869 in the text.
Jacob Bean. The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, p. 73.
Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, pp. 167–69, ill.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 12, 61–63, 250, ill. in color (overall and detail).
Gary Tinterow in The Metropolitan Museum of Art: Notable Acquisitions, 1984–1985. New York, 1985, p. 30.
Gary Tinterow. Letter to Nicholas Penny. July 17, 1986, does not think that the present gilt frame is original since Degas painted his frames; suggests that this frame was supplied by Durand-Ruel.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 230–31, 255, pl. 156, describes the events surrounding Mrs. Havemeyer's purchase of this work from Manzi's heirs through Mary Cassatt.
Sjraar van Heutgen et al. in Franse meesters uit het Metropolitan Museum of Art: Realisten en Impressionisten. Exh. cat., Rijksmuseum Vincent van Gogh, Amsterdam. Zwolle, The Netherlands, 1987, pp. 15, 17, 78–79, no. 26, ill. (color).
Jack Flam. "The Master on View at New Met Galleries." Wall Street Journal (December 27, 1988), p. ?.
Henri Loyrette in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 41, 57, 149–51, 155, no. 87. ill. (color), dates it 1869; identifies this picture as no. 39 in the 1876 Impressionist exhibition; notes that the preparatory studies "display a coherence and sense of progression that would seem to suggest quite a different painting from the studio portrait, which, though it is unfinished, must be considered the final work"; describes the distant view of the garden as Degas's response to Berthe Morisot's "unsuccessful attempts" to paint figures in a landscape.
Michael Pantazzi in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 249–50, compares the composition of this work to that of several other portraits done before Degas's departure for New Orleans in 1872 which depict figures against a background parallel to the picture plane, and "all of which share an almost compulsive interest in the dynamic contrast generated by the placement of a figure against a background dominated by the interplay of rectangles"; finds this composition especially close to that of "Henri Rouart and His Daughter Hélène" (L424; private collection, New York).
Barbara Scott. "The Triumph of Degas." Apollo 127 (April 1988), p. 282, questions whether the frame was chosen by Degas.
Gary Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas. Paris, 1989, p. 297, note that it may have been no. 39 in the 1876 Impressionist exhibition, but that it was not mentioned in the press.
Henri Loyrette. Degas. Paris, 1991, pp. 236–38.
Anne Higonnet. Berthe Morisot's Images of Women. Cambridge, Mass., 1992, pp. 67, 290, fig. 17, discusses its influence on Morisot's slightly later "Portrait of Cornélie Morisot and Edma Pontillon" (National Gallery of Art, Washington), which depicts almost the same view of the Morisot living room.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 257, 264–67, 337 n. 376, p. 339 n. 396.
Henri Loyrette. Degas: The Man and His Art. New York, 1993, p. 56, ill.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 271, fig. 106 (installation photograph of Exh. New York 1930).
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 325, no. A200, ill. p. 326.
Jean Sutherland Boggs in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, pp. 24, 89.
Marilyn R. Brown. Degas and the Business of Art: A Cotton Office in New Orleans. University Park, Pa., 1994, p. 67.
Gary Tinterow and Henri Loyrette. Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, p. 323, fig. 392 [French ed., "Impressionnisme: Les origines, 1859–1869," RdMN, Paris, 1994, p. 324, fig. 392].
Isabelle Cahn in In Perfect Harmony: Picture + Frame, 1850–1920. Exh. cat., Van Gogh Museum. Amsterdam, 1995, pp. 132, 134, fig. 119 (color), notes that this is one of the few Degas works which retains its original frame.
"Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, p. 34, no. II-39, ill. p. 48, identifies it as no. 39 in the 1876 Impressionist exhibition.
Paul Mitchell and Lynn Roberts. Frameworks: Form, Function & Ornament in European Portrait Frames. London, 1996, p. 459 n. 27.
Jean Sutherland Boggs in Degas et la Nouvelle-Orléans. Exh. cat., Ordrupgaard. Copenhagen, 1999, p. 20, fig. 12 (color).
Richard R. Brettell. Impression: Painting Quickly in France, 1860–1890. Exh. cat., National Gallery, London. New Haven, 2000, p. 203, fig. 144 (color).
David Bomford et al. in Art in the Making: Degas. Exh. cat., National Gallery. London, 2004, p. 22, fig. 14 (color).
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 98, 207, no. 67, ill. (color and black and white).
Elizabeth Easton and Jared Bark. "'Pictures Properly Framed': Degas and Innovation in Impressionist Frames." Burlington Magazine 150 (September 2008), pp. 607–8, fig. 42 (color), note that Mrs. Havemeyer likely had the current frame on this picture constructed to resemble one of Degas's original frames.