This is one of many versions of this popular composition, showing a young woman modelled on the artist’s wife, Curina van der Cock. The two versions with the best claim to be originals by van Mieris are the one signed and dated 1663 (Sotheby's, London, 3/12/2008, no. 25) and the one on copper in the National Gallery, London. The status of this version is uncertain: though not of the standard of the two listed above, it must at least come from the immediate circle of the artist. The panel depicts a young woman in a bedroom (the bed is just visible behind) interrupting her embroidery work to feed her pet African Grey Parrot. The way that she raises the fabric of her work looks as if she is pressing her hand to her heart, which makes her offering gesture rather overly gracious, especially accompanied by a besotted grin. The painting may be intended to show the height of fashionable elegance, with this exceptionally intelligent West African bird, only recently available on the European market, as a must-have accessory. There may be a further meaning: the African Grey is an excellent mimic; perhaps we are to understand that the young woman is sharing confidences with her pet, or more generally suggesting a phrase such as ‘love me, love my parrot’.