H[ans]. Schneider in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 17, Leipzig, 1924, p. 433.
J[osephine]. M[cCarrell]. L[ansing]. "A Gift of Three Paintings." Metropolitan Museum of Art Bulletin 23 (March 1928), pp. 91–92, describes the work as one of three paintings given to the MMA by Kress.
Colin Eisler. Paintings from the Samuel H. Kress Collection. Vol. 4, European Schools Excluding Italian. London, 1977, p. 156, fig. 142, concludes that the formerly over-painted crane was hidden lest the canvas be regarded as a fragment; suggests that the picture may have belonged to a series of wall paintings; compares the composition of Hondecoeter's "Peacocks and Ducks" in the Wallace Collection, London.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 190.
Peter C. Sutton. Northern European Paintings in the Philadelphia Museum of Art: From the Sixteenth through the Nineteenth Century. Philadelphia, 1990, p. 128 n. 3.
Nicholas H. J. Hall, ed. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131, lists it among paintings sold by Colnaghi.
John Ingamells. The Wallace Collection: Catalogue of Pictures. Vol. 4, Dutch and Flemish. London, 1992, p. 160, notes the repetition of the group of the peacock and peahen in a few paintings by Hondecoeter, including the MMA's and the one in the Wallace Collection, London.
Marilyn Perry in A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection. Ed. Chiyo Ishikawa et al. Exh. cat., North Carolina Museum of Art, Raleigh. New York, 1994, pp. 19, 32 n. 18, mentions it as coming from "Contini's inexhaustible supply".
Chiyo Ishikawa in A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection. Ed. Chiyo Ishikawa et al. Exh. cat., Raleigh, North Carolina Museum of Art. New York, 1994, pp. 178–80, no. 27, ill. (color), describes the subject and notes that there is "nothing natural" about the animals' presentation; observes a "certain anthropomorphic quality to the postures and expressions" of the animals in the foreground.
Els Vlieger. "Melchior d'Hondecoeter (1636-1695), der beste mahler umb vögeln zu mahlen." Kunstschrift 39 (July–August 1995), p. 20, fig. 23 (color), notes the similarity of the main motif to the peacock in Hondecoeter's "Birds on a Balustrade" of 1670 (Amsterdams Historisch Museum, Amsterdam).
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 38, fig. 46 (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. xi, 348–50, no. 82, colorpl. 82; vol. 2, p. 939.