There are three states of this image. The first may be a calendar picture for 1766 with the signature Harunobu ga and the signature and seal of Sakei. The second state shown here lacks the Sakei signature and seal, and has a wave pattern printed on the woman's robe. The third lacks the Harunobu signature.

For an impression of the first state see Steffi Schimidt, Katalog der Chinesischen und japanischen Holzschnitte fr Ostasiatische Kunst, Berlin (Berlin: Bruno Hessling Verlag, 1971), pl. 109.

For impressions of the third state see David B. Waterhouse, Bosuton bijutsukan/Museum of Fine Arts, Boston, supplemental vol. 1, Harunobu I in Ukiyo-e shuka (Tokyo: Shogakukan, 1982), pl. 93; Harunobu in Zaigai hiho: Obei shuzo ukiyo-e shusei (Tokyo: Gakushu Kenkyusha, 1969-73), no. 90 (Honolulu Academy of Arts); Helen C. Gunsaulus, Harunobu, Koryusai, Shigemasa, their Followers and Contemporaries, in The Clarence Buckingham Collection of Japanese Prints (Chicago: The Art Institute, 1965), no. 44; Vignier and Inada, Estampes Japonaises: Primitives, Tires des Collections de... et Exposes au Muse des Arts Dcoratifs en Fvrier 1909, reprinted in 2 vols. (Geneva: Minkoff Reprint, 1973), pl. XVII, no. 201; Tokyo National Museum, ed., vol. 1 of Tokyo kokuritsu hakubutsukan zuhan mokuroku: Ukiyo-e hanga hen/Illustrated Catalogue of Tokyo National Museum (Tokyo: Tokyo National Museum, 1974), no. 472; and Yoshida Teruji, Harunobu zenshu (Tokyo: Takamizawa Mokuhansha, 1942), no. 77.

Another impression of the third state was sold Sotheby's, London, Catalogue of Highly Important Japanese Prints, Illustrated Books, Drawings and Fan Paintings from the Henri Vever Collection: Part II, 26 March, 1975, lot 48.