"The H. O. Havemeyer Collection." Parnassus 2 (March 1930), p. 7.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 115.
Agnes Mongan. "Degas as Seen in American Collections." Burlington Magazine 72 (June 1938), p. 296.
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 2, pp. 88–89, 126, no. 172, ill., dates it about 1867–68; relates that according to Mlle Dihau, this picture was executed rapidly at the restaurant of Mère Lefebvre as consolation for one of her many departures from Paris for Lille, alluded to by the inclusion of her travelling bag; notes that Degas met several musicians from the Opéra at Mère Lefebvre's restaurant.
Marcel Guérin, ed. Edgar Germain Hilaire Degas: Letters. Oxford, 1947, p. 260.
Pierre Cabanne. Edgar Degas. Paris, , p. 96 [English ed., 1958].
Jean Sutherland Boggs. Portraits by Degas. Berkeley, 1962, pp. 106, 116, dates it 1868.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 61–62, ill.
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, pp. 96–98, no. 235, ill.
Norma Broude. "Degas's 'Misogyny'." Art Bulletin 59 (March 1977), p. 101.
Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, pp. 7, 9, 15 n. 11, colorpl. 10, calls it a "very private and telling view of another artist".
Ian Dunlop. Degas. New York, 1979, pp. 77, 198.
Charles F. Stuckey in Toulouse-Lautrec: Paintings. Ed. Charles F. Stuckey. Exh. cat., Art Institute of Chicago. Chicago, 1979, p. 157, asserts that this portrait must be the one which Toulouse-Lautrec supposedly praised as "primitive".
Michael Wentworth. "Energized Punctuality: James Tissot's 'Gentleman in a Railway Carriage'." Worcester Art Museum Journal 3 (1979–80), pp. 17–18, 26 n. 24, fig. 8, suggests that this picture may have influenced Tissot's "Gentleman in a Railway Carriage" (1871–72; Worcester Art Museum).
Eugénie de Keyser. Degas: Réalité et métaphore. Louvain-la-Neuve, 1981, p. 94, observes that the objects Degas included in his portraits allude to memories and emotions that he shared with his sitters, noting a certain melancholy conveyed by the large travelling bag in this picture.
Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, p. 175.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 53, 55, 69, 250, ill. (color).
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 240, pl. 167, asserts that Mrs. Havemeyer preferred such "penetrating studies of personality and mood . . . above all else".
Henri Loyrette in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, p. 161.
Colta Ives. "French Prints in the Era of Impressionism and Symbolism." Metropolitan Museum of Art Bulletin 46 (Summer 1988), p. 15, ill. p. 14 (color), cites it as an example of how attuned Degas was to the accessories of modern women's dress.
Henri Loyrette. Degas. Paris, 1991, pp. 216–17, asserts that Désiré and Marie Dihau commissioned their portraits from Degas.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 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. 280, 285, pl. 277.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 325, no. A198, ill. p. 326.
Jean Sutherland Boggs in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, pp. 18, 35 n. 11, states that it was a gift from Degas to the sitter.
Gioia Mori in Degas: Classico e moderno. Ed. Maria Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 90.
Richard R. Brettell and Stephen F. Eisenman. Nineteenth-Century Art in the Norton Simon Museum. Ed. Sara Campbell. Vol. 1, New Haven, 2006, p. 390, fig. 101c.
Jill DeVonyar and Richard Kendall. Degas & Music. Exh. cat., Hyde Collection. Glens Falls, N. Y., 2009, p. 64.
Gloria Groom in Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 231, ill. p. 230 (color) [French ed., "L'Impressionnisme et la Mode," Paris, 2012, p. 244, ill. p. 233 (color)], notes that the profile view accentuates her anonymity.
Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 284, no. 116, ill. (color) [French ed., "L'Impressionnisme et la Mode," Paris, 2012, p. 299, no. 158].
Isabelle Graw. "'Impressionism, Fashion, and Modernity'." Artforum 52 (December 2013), p. 223, ill. (color), notes that it anticipates the significance of the accessory in the early twenty-first century.