Signed below left: CLARA. P. Recent dendrochronological analysis made by Prof. Dr. Peter Klein (2014, available in copy) confirms that this oil on panel can be dated around 1615, which places its production in the middle of her career. The dated artworks from her corpus begin in 1607–09 and her last known dated painting bears the date 1621 next to her signature. The appearance of the present artwork on the Antwerp market may be related to an interesting event: in 1613, the archdukes Isabel Clara Eugenia (1566–1633) and Albert of Austria (1559–1621), who ruled Flanders at that time, adopted a law establishing the right of noble men and women to practice hunting exclusively "fur with fur and feather with feather" (see exhib. cat. The Art of Clara Peeters, ed. by Alejandro Vergara, Madrid/Antwerp 2016, S. 38). This means that dogs were trained to hunt mammals, whereas birds, raptors in particular, were domesticated to capture other birds. Knowing that Isabel Clara Eugenia was passionate about falconry, Clara Peeters might have chosen this subject to establish her artistic authority in the mercantile capital of Flanders. Cave was not the only artist to benefit from the commercial success of this iconography on the Antwerp market. At least twelve versions are known today with variations in their compositions (written communication of Prof. Hibbs-Decoteau, 2018). Many are signed by Peeters, such as the "Still Life with Peregrine Falcon and its Prey" (Salomon Lilian: Old Masters, Geneva/Amsterdam 2015, pp. 44–45, cat. no. 9), "Still Life with Game" (Tallin Art Museum, inv. no. VM878), and "Still Life with Sparrow Hawk, Fowl, Porcelain and Shells" (Prado Museum, inv. no. P1619).