This paper presents a detailed analysis of the perplexing painting Boy with Sulphur-Crested Cockatoo. Unfortunately, there is little information on the provenance of the portrait, including the identity of the artist, sitter and patron. It will be argued that it is the work of Augustus Earle and that it is a portrait of Daniel Cooper II and was commissioned by his uncle, also named Daniel Cooper. The aim of this article is to start to unravel the ambiguities of the image, and I suggest that the painting is a strong statement on the rights of freed convicts in Australian colonial society.