Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 139–40, ill., proposes that this may have been a sketch for a sculpture honoring Louis XVI when he became dauphin in 1765; finds it close in style to the sketch of the Rape of Europa in the museum at Amiens; tentatively identifies the standing figures as Peace and the Glory of Princes (Ripa, Iconologia, 1698, pp. 101 f., fig. 70), and the seated figures as Envy and Time; calls it worthy of Boucher himself.
Alexandre Ananoff with the collaboration of Daniel Wildenstein. François Boucher. Lausanne, 1976, vol. 2, p. 226, no. 571, fig. 1548, as "Projet pour une statue d'un monarque défunt"; note that it may have been designed for the tomb of the dauphin Louis, son of Louis XV, who died in 1765; identify the standing figure at the left as Virtue and observe that the pyramid held by the figure at right is funereal; call the others Slander, restraining a dog symbolizing Faith, and Time, with his hands tied, endowing the person honored with eternal life.
Jacob Bean and Dean Walker. "Unpublished opinion." Oral opinion. August 3, 1979, find that "differences in handling, overall quality and the awkward relation in scale of the figures . . . make the attribution . . . to Boucher very doubtful".
Alastair Laing. Letter to Katharine Baetjer. March 19, 1991, as "Study for a Monument to a Victorious Warrior"; considers it autograph.
Old Master & British Paintings. Sotheby's, London. December 9, 2009, p. 100, under no. 39, relates it to a sketch by Boucher of "Hagar and Ishmael in the Desert".