Exposition H. de Toulouse-Lautrec. Exh. cat., Musée des Arts Décoratifs. [Paris], 1931, p. 36, no. 114, states that it was no. 90 in the sale of Dr. Soubies on June 14, 1928.
Romain Coolus. "Souvenirs sur Toulouse-Lautrec." L'Amour de l'art 12 (April 1931), fig. 8, states that it has not been published previously.
M.-G. Dortu, Madeleine Grillaert, and Jean Adhémar. Toulouse-Lautrec en Belgique. Paris, 1955, p. 35, pl. 32 (installation photograph from Exh. Brussels 1935).
Maurice Rheims. "La cote des Lautrec." Toulouse-Lautrec. Paris, 1962, p. 224, states that Druet paid Fr 141,000 for it at the Soubies sale.
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. 204–5, ill., includes it in the group of pictures Toulouse-Lautrec made in brothels between 1892 and 1896, dating it between 1894 and 1896; remarks that the nearer figure appears in an oil sketch at Albi and that the same two women were models for a painting called "Rue des Moulins" in the Chester Dale collection.
M. G. Dortu. Toulouse-Lautrec et son œuvre. New York, 1971, vol. 1, ill. pp. 60 (installation photograph of Exh. Brussels 1935), 61 (installation photograph of Exh. Paris 1938); vol. 3, pp. 370–71, no. P.601, ill., dates it 1895.
G. M. Sugana in The Complete Paintings of Toulouse-Lautrec. London, 1973, p. 110, no. 368, ill., dates it 1894.
Naomi E. Maurer and Charles F. Stuckey in Toulouse-Lautrec: Paintings. Ed. Charles F. Stuckey. Exh. cat., Art Institute of Chicago. Chicago, , p. 252, fig. 4.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 238, ill. pp. 238–39 (color; overall and detail).
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 73, colorpl. 52.
MaryAnne Stevens in The Passionate Eye: Impressionist and Other Master Paintings from the Collection of Emil G. Bührle, Zurich. Exh. cat., National Gallery of Art, Washington. Zürich, 1990, pp. 188, 242 n. 4, under no. 67.
Richard Thomson in Toulouse-Lautrec. Exh. cat., Hayward Gallery, London. New Haven, 1991, pp. 18, 410, 420, 432, 434, no. 139, ill. p. 433 (color), notes that even while depicting suspenseful, anticipatory, and suggestive scenes of sexuality featuring prostitutes, as lesbian couples, the artist still gives them traditional roles, representing one as "impassive and dominant, the other as submissive and adoring," adding that the male client is almost never seen; comments that the name of the model in the foreground is Gabrielle and illustrates many other compositions for which she modelled; calls it one of four paintings of lesbian couples that Toulouse-Lautrec made in mid-decade ("Femmes en repos," P.597, Gemäldegalerie, Dresden; "Les Deux Amis," P.602, Bührle collection, Zürich; and "Les deux amies," P.598, private collection), the first three of which are larger and share color, compositional, and size similarities; suggests that all explore moments of psychological nuance between the two women depicted and questions whether these scenes were observed or invented.
Gilles Néret. Henri de Toulouse-Lautrec, 1864–1901. Ed. Ingo F. Walther. New York, 1995, pp. 136, 147, ill. (color) [German ed., 1994], dates it about 1894–95.
Colta Ives. Toulouse-Lautrec in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 23, 61, fig. 58.
Susan Alyson Stein 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. 156–57, 259, no. 116, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 186–87, 309, no. 173, ill. (color and black and white).
Rebecka Lennartsson in Toulouse-Lautrec. Exh. cat., Nationalmuseum. Stockholm, 2008, pp. 90, 92, 184, no. 29, colorpl. 111.