4 TH EW AU DUB ON) “BU E Deis 
winter at live-traps. These models I usually put into old shirt or smock 
sleeves so their heads will stick out, tie them in so they can’t kick and 
squirm, talk to them and stroke them, and set to work. A good many birds, 
when treated thus, become quite docile.” 
He has received many honors as a result of his outstanding work, but 
the one he cherishes above all others — an honor coveted by all ornitholo- 
gists — was the naming of the Sutton’s Warbler, the first new bird dis- 
covered in the Eastern United States in recent times. 
Francis Lee Jaques is another top-notch bird painter. Not as good an 
ornithologist as Sutton, he paints certain birds better than others. His 
ducks, herons, and upland game birds can hardly be excelled, but his small 
land birds and hawks are less successful. His birds have a most remark- 
able third-dimensional movement. They seem to be a part of the land- 
scape. He puts them in interesting positions — at an angle overhead, 
going directly away from the observer or toward him, not always in profile. 
He excels, too, in the difficult task of grouping several birds artistically on 
one plate, a requirement in most modern bird books. More than any other ' 
painter since Audubon, or since Fuertes’ Abyssinian work, he produces bird 
portraits that are beautiful in design. 
Jaques for nearly twenty years was associated with the American 
Museum of Natural History, for which he did panoramic background paint- 
ings and murals. Among the bird books which contain his illustrations are 
Roberts’ Birds of Minnesota; Robert Cushman Murphy’s Oceanic Birds of 
South America; Arthur H. Howell’s Florida Bird Life; and Bertha B. 
Sturgis’ Field Book of Birds of the Panama Canal Zone. 
Since 1942 he has been collaborating with his wife, Florence Page 
Jaques, in writing and illustrating their own delightful nature books — 
Birds Across the Sky, Snowshoe Country, Canoe Country, and The Geese 
Fly High. 
Walter Alois Weber ranks among the best of the young painters of 
today. He was associated at one time with the Chicago Natural History 
Museum, accompanying the Crane Pacific Expedition in 1929. The Museum 
has the originals of the beautiful pictures made at that time. More recently 
he was with the National Park Service. He is now free-lancing and makes 
his home in Virginia near Washington, D.C. Much of his work is with the 
National Geographic Society. In the spring of 1943 he accompanied the 
Society’s fifth expedition to southern Mexico. His delightful account of his 
experiences on that expedition, and his paintings of the tropical birds 
studied appear in the February, 1945, issue of National Geographic 
Magazine. In 1944 he designed the beautiful migratory bird hunting 
stamp of three white-fronted geese. 
Roger Tory Peterson is best known to most of us as the author and 
illustrator of our inseparable companion, the Field Guide to the Birds. 
He is Director of Education of the National Association of Audubon 
Societies, and is well known to all readers of the Audubon Magazine as the 
painter of its covers. In addition to painting, he writes the Audubon leaf- 
lets which are distributed to thousands of children every year, and as 
contributing editor of the magazine he interprets the results of research 
