Signed and dated (upper left): Degas / 85

Paris. 1 Rue Laffitte. "8me exposition de peinture [8th Impressionist exhibition]," May 15–June 15, 1886, nos. 19–28 (one of "Suite de nuds [sic]").

New York. The Metropolitan Museum of Art. "Loan Exhibition of Impressionist and Post-Impressionist Paintings," May 3–September 15, 1921, no. 32 (as "The Bather," lent anonymously).

New York. Grolier Club. "Prints, Drawings and Bronzes by Degas," January 26–February 28, 1922, no. 47 (as "Femme au tub, s'essuyant").

New York. The Metropolitan Museum of Art. "The H. O. Havemeyer Collection," March 10–November 2, 1930, no. 146 (as "Woman Bathing") [2nd ed., 1958, no. 127].

New York. The Metropolitan Museum of Art. "Degas in the Metropolitan," February 26–September 4, 1977, no. 42 (of works on paper).

New York. The Metropolitan Museum of Art. "Degas," September 27, 1988–January 8, 1989, no. 269.

New York. The Metropolitan Museum of Art. "Splendid Legacy: The Havemeyer Collection," March 27–June 20, 1993, no. A239.

Félix Fénéon. "Les impressionnistes." La Vogue (June 13–20, 1886), p. 262 [reprinted in Ref. Berson 1996, p. 441].

Gustave Geffroy. "La Justice." Salon de 1886: VIII. Hors du Salon. Les impressionnistes (May 26, 1886) [reprinted in Ref. Berson 1996, p. 452].

Maurice Hermel. "L'Exposition de peinture de la rue Laffitte." France libre (May 27, 1886), p. 2 [reprinted in Ref. Berson 1996, p. 455].

[Octave Maus]. "Les Vingtistes parisiens." L'Art moderne [Brussels] (June 27, 1886) [reprinted in Ref. Berson 1996, p. 463].

Octave Mirbeau. "Exposition de peinture (1, rue Laffitte)." La France (May 21, 1886), p. 1 [reprinted in Ref. Berson 1996, p. 465].

J.-K. Huysmans. Certains. Paris, 1889, p. 24.

Mary Cassatt. Letter to Mrs. H. O. Havemeyer. December 28, [1917] [published in Nancy Mowll Mathews, ed., "Cassatt and Her Circle, Selected Letters," New York, 1984, p. 330].

H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 132.

Louise Burroughs. "Degas in the Havemeyer Collection." Metropolitan Museum of Art Bulletin 27 (May 1932), p. 145.

P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 3, pp. 466–67, no. 816, ill.

Ronald Pickvance. Letter to Margaretta M. Salinger. August 3, 1963.

Ronald Pickvance. Letter to Mary Ann W. Harris. June 14, 1964.

Félix Fénéon. Au-delà de l'impressionnisme. Paris, 1966, pp. 58–59.

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, p. 88, ill.

Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 127, no. 911, ill.

Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, p. 13, colorpl. 29.

Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, p. 377.

Charles F. Stuckey in Degas: Form and Space. Exh. cat., Centre Culturel du Marais. Paris, 1984, p. 46, fig. 123 (color).

Geneviève Monnier. Pastels du XIXe siècle: Musée du Louvre, Cabinet des dessins; Musée d'Orsay. Paris, 1985, p. 68, under no. 59.

Richard Thomson. "Degas's Nudes at the 1886 Impressionist Exhibition." Gazette des beaux-arts, 6th ser., 108 (November 1986), p. 188, fig. 1.

Martha Ward in The New Painting: Impressionism 1874–1886. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 430–34, 443.

Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 238, 255, pl. 158.

Richard Thomson. Degas: The Nudes. London, 1988, pp. 130–31, 134, 139, 142–43, 146, fig. 121, colorpl. 149.

Gary Tinterow in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 324, 367, 372, 380, 385, 443–44, 446–48, 451, 472, no. 269, ill. (color).

Richard Thomson. "Les poses chez Degas de 1875 à 1886: lecture et signification." Degas inédit: Actes du Colloque Degas. Paris, 1989, pp. 220–21.

Gary Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas. Paris, 1989, p. 349.

Carol Armstrong. Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago, 1991, pp. 159, 182, fig. 92.

Jean Sutherland Boggs and Anne Maheux. Degas Pastels. New York, 1992, pp. 112, 182.

Anthea Callen. "Degas' "Bathers": Hygiene and Dirt—Gaze and Touch." Dealing with Degas: Representations of Women and the Politics of Vision. London, 1992, pp. 166–70, fig. 38.

Heather Dawkins. "Managing Degas." Dealing with Degas: Representations of Women and the Politics of Vision. London, 1992, p. 143.

Richard Kendall. "Signs and Non-Signs: Degas' Changing Strategies of Representation." Dealing with Degas: Representations of Women and the Politics of Vision. London, 1992, pp. 195–98.

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, p. 339 n. 389, p. 341 n. 420, p. 342 n. 429.

Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 273–74, 278, pl. 271.

Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 331, 335, no. A239, ill. p. 334.

Anthea Callen. The Spectacular Body: Science, Method and Meaning in the Work of Degas. New Haven, 1995, pp. 29, 31, 155, pl. 22.

"Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, pp. 240–41, no. VIII-21, ill. p. 259.

Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. London, 1996, pp. 59, 142–43, 155, fig. 58 (color).

Ann Dumas in Ann Dumas et al. The Private Collection of Edgar Degas. Exh. cat., The Metropolitan Museum of Art. essays, New York, 1997, p. 9.

Charles Harrison. Painting the Difference: Sex and Spectator in Modern Art. Chicago, 2005, p. 129.

Jane Kinsman. Degas: The Uncontested Master. Exh. cat., National Gallery of Australia. Canberra, 2008, pp. 177, 179 n. 11.