Vittorio Pica. "Artisti contemporanei: Edgar Degas." Emporium 26 (December 1907), ill. p. 412.
Julius Meier-Graefe. Degas. Munich, 1920, pl. 89 [English ed., 1923, pl. LXXXVIII], calls it "Nach dem Bade" and dates it about 1890.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 132, as "Nude Drying Arm".
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 3, pp. 452–53, no. 794, ill., calls it "Femme s'essuyant" and dates it about 1884.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 261, mentions having bought this picture from Cottier and Company [James Inglis was the former president of Cottier and Co.; see Ref. Havemeyer 1993].
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, p. 90, ill., call it "Nude Drying Her Arm"; refer to this work as the final version of the composition, noting that several studies show the model facing either direction, but that all the known counterproofs, as well as the MMA picture, face right, indicating that the first depiction probably showed the figure facing left.
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, pp. 126–27, no. 902, ill., dates it about 1884.
Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, pp. 275, 359, refers to a left-facing version in pastel [sic for this picture?], "and a number of preliminary studies in each direction, all apparently done around 1884".
Gary Tinterow in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 468–69, no. 286, ill. (color), calls it "Nude Woman Drying Her Arm" and dates it about 1887–89; notes that it is based on a counterproof taken from a charcoal drawing in a private collection, Paris (L793); lists eighteen related variants of this picture.
Richard Thomson. Degas: The Nudes. London, 1988, pp. 179, 183, fig. 178, calls it "Nude Drying Her Arm" and dates it about 1890–95; observes that in the mid-1890s Degas reworked variations of about a dozen stock poses of nudes.
Ettore Camesasca. The São Paulo Collection: From Manet to Matisse. Exh. cat., Rijksmuseum Vincent Van Gogh, Amsterdam. Milan, 1989, p. 78, ill., calls it "Woman Drying Herself" and dates it about 1888; illustrates eleven works related to this pastel.
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, 261, 337 n. 376, p. 339 n. 389.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 254, 286.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 336, no. A243, ill. p. 334, calls it "Woman Drying Her Arm".
George T. M. Shackelford in Museum of Fine Arts, Boston. Degas and the Nude. Exh. cat.Boston, 2011, pp. 174, 213, 228, fig. 186 (color) [French ed., "Degas et le nu," Paris, 2012, pp. 200, 211, 244, 272 fig. 196 (color)], notes that it is a counterproof.