Previously believed to be a work of the Dutch artist Jan Weenix, it bears a spurious signature lower right, it is clearly more an example of a painter influenced by the artist Pieter Casteels III. Hailing from Antwerp, the young Casteels was taught by his father Pieter Casteels II and first came to London in 1708, chiefly working in the city until 1735, specialising in accomplished arrangements of exotic birds in the manner of Hondecoeter. Increasingly popular with the landed aristocracy this type of picture rapidly became a tasteful addition to a country house collection.

This particular painting is very similar in style, size and composition to a pair of pictures which were on the art market in Germany in 1984 and almost certainly was executed by the same artist, suggesting that this unknown painter was engaged in a small practice offering such works. The lively expressions of the peacock and peahen, their finery accentuated by the ungainliness of the plump turkey waddling in the background, together with the closeness of the doves and pigeons, hints at an imprecise allegorical meaning, perhaps alluding to love and beauty. Set within an ordered classical setting the composition is both elegant and amusingly absurd. Casteels was a master of this type of picture and with demand being strong it clearly led to artists of the period aping his style and practice. Purchased from Christies in 1943 as by Jan Weenix this painting has been in the same collection for the last sixty-five years. In the past spurious signatures were commonly added to this type of picture in an attempt to make them more desirable. In previous times when comparative study was so much more visually restrictive it clearly had the desired effect, it still believed to be a Weenix when offered at auction during the last world war.