Vente aux enchères publiques après décès de Monsieur Gabriel Cognacq. Galerie Charpentier, Paris. May 14, 1952, no. 15, pl. 14, observes that a portrait of a model of the same type and with a similar coiffure seems to have been in the Doucet sale (Paris, June 6, 1912, no. 149), and in that catalogue is claimed to be Marie-Madeleine Riggieri, one of the Colombe sisters, three actresses of the Comédie italienne.
Louis Réau. Fragonard, sa vie et son oeuvre. Brussels, 1956, p. 177, lists it among representations of the Colombe sisters, as Adeline Colombe, and notes that it was in the 1952 Cognacq sale.
Georges Wildenstein. The Paintings of Fragonard, Complete Edition. London, 1960, p. 287, no. 408, fig. 168, lists it with works from Fragonard's second Italian journey, 1773–76.
Jean Cailleux. "Fragonard as Painter of the Colombe Sisters [L'art du dix-huitième siècle: An advertisement supplement]." Burlington Magazine 102 (September 1960), p. vi, pl. 14 (detail), as Marie Thérèse Colombe, but notes that she used to be known as Marie Madeleine (called Adeline); compares it to the girl holding a kitten and a puppy (private collection, Paris), of about 1769, which he identifies as the same sister.
Gabriele Mandel in L'opera completa di Fragonard. Milan, 1972, p. 105, no. 433, ill., lists it with works from 1773–76, noting that the classical lamp suggests a mythological subject; refers to it as a pendant to Minerva, no. 432; compares the young woman here with the sitter identified as Adeline Colombe in an oval painting in the Rothschild collection, Paris, no. 435.
Jean-Pierre Cuzin. Jean-Honoré Fragonard: Vie et oeuvre, catalogue complet des peintures. Fribourg, Switzerland, 1987, p. 304, no. 229, ill., dates it about 1772.
Pierre Rosenberg. Tout l'oeuvre peint de Fragonard. Paris, 1989, pp. 97–98, no. 244, ill., calls it "Allégorie de la vigilance" and dates it about 1772; considers it a possible pendant to "Allégorie de la force" (Detroit Institute of Arts) and "Allégorie de la prudence" (whereabouts unknown).