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If you think gourds can't provide plenty of color and art, you're in for a surprise. Not only color and art but money, for Mrs. McCarter draws a neat little income from her artistic gourds.

As a child, Adelaide learned the business end of gourd gardening. She even helped hand-pick and murder the squash bugs which often tackled some of the vines. She helped her father "sweeten"—remove the pithy, bitter inside—long-handled gourds and turn them into dippers to be hung beside the water bucket on the kitchen table, over the washpan on the back stoop bench and on the cistern curb. All the time she was listening to him spinning tall tales about the use of the fruit—gourds are really fruit you know—in his home state, Tennessee, and about the gorgeous Mexican creations he had seen down "on the border."

It is small wonder that after drinking in his stories, so garnished with gourds and peppered with paint, that little Adelaide early developed an interest in gourds which led her to the making of ornaments and useful containers from the fruits.

Then she grew up, married, went to art school—and came the depression. Turning to something to occupy her mind, Adelaide—Mrs. E.W. McCarter now—not only found her gourds entertaining, but amazingly they became a real source of financial profit.

MRS. McCARTER felt the need of more income. So with outward calm and inward terror, she displayed twenty gourd creations in her husband's drugstore. The exhibit consisted of the full figure of an Indian brave, an Indian squaw and a Mexican, several pairs of vases, a two-gallon raffia trimmed water jug that had been a Hercules club gourd, several pairs of Chinese heads for wall decorations, pitchers and various other articles.

That day was a great success, one of the brightest spots in her life. The first person to view the gourds—a collector—was enchanted. "Needless to say," Mrs. McCarter asserts, "I was enchanted too when the collector bought the complete exhibit for the whole sum of $50.

"Don't laugh," she adds. "That sum sounds small now, but it sounded like a million then. Still better than the cash was the publicity I received. Not only was the exhibition viewed by half the town and the surrounding country, but pictures of various groupings of the creations appeared in several state papers. The result was scores of inquiries regarding the craft and orders galore. Before I had time to prepare a new collection, I was invited to exhibit and lecture in several Oklahoma towns. Best of all was the impression the episode had made on me. It was the spark that set off a profitable hobby.

"Once the plan to make my hobby profitable was full-fledged, I proceeded in a businesslike way to carry it out. After a lecture at a Garden Club where I heard a fast-talking lady mesmerizing the audience with the wonders of the gourd, squash and melon families, I delved into all available sources of information on gourd art. I haunted the library where I found a few helpful articles in back-number magazines. To my surprise I found no books that treated of gourd work or decoration under that particular subject heading. However, if you wish to increase your knowledge of historical gourd lore—not art—'Gourd Growers of the South Seas,' by Ernest S. Dodge; 'Gourds of the Southeastern Indians,' by Dr. Frank G. Speck, and 'The Gourd in Folk Literature,' by Eddie W. Wilson, are well worth your time.

"I visited art shops, made the acquaintance of other gourd-conscious folk and consulted art instructors, one of whom was a Latin American. The Mexican type of gourd work gave me many grand ideas.

"Then I got down to business. It is surprising how much one can accomplish when really 'pepped up.' Even so, in a short time orders came in so fast that I was usually sold out."

Time passed, sales continued, Mrs. McCarter relates, and she was well pleased with the income.

Then in 1949, Mrs. McCarter was widowed, and she moved to Norman.

LIKE MOST hobbyists, Mrs. McCarter works at home. Her worktable top is a long, wide slab of brown marble which had served as a counter in the drugstore. However, as she says, any good sized, firm table may be used.

One of the encouraging aspects of the gourd hobby is that one can get a good start for an initial outlay of $12 to $15. Paints "and brushes are the most expensive. Mrs. McCarter suggests that the beginner purchase a starter set of artist's basic oil paints, which includes a palette, turpentine, oil and the necessary brushes. This will cost around $12.50 at any first class art shop. Since each plays its own role in decorating, the shapes of the brushes vary from those with square ends to those with fine points. Buy good quality. Other working essentials are: worktable, a sharp knife, shellac, enamel, paraffin, good glue, raffia, reed, beads, yarn, needle-pointed awl (a small ice pick would do) and a few other little gadgets. "With these ingredients," Mrs. McCarter says, "mix time, labor and hair tearing. Beat the life out of the mixture with patience and you're off to a good start. Assuming, of course, that you have choice gourds assembled and ready for the knife.

"This brings up another question—gourd procurement. Although gourds do not ripen until just before frost, it is well to arrange for them during the summer months. If you wait until later, you are apt to find producers' stock of choice fruit low because fanciers begin early and work fast. If you are able to get a supply of last year's gourds that have been properly cured, that will be better."

Gourds are of two basic varieties: hard-shelled and soft-shelled. There is a great variety to choose from—from the tiny, hard-shelled nest egg gourds to the massive Hercules club gourds, also hard-shelled. Ranging between these two varieties are the pear-shaped, powder horn, calabash pipe, mock orange, bottle-necked, spoon, dumb-bell, dipper and others.

At the start, friends and relatives around Asher furnished Mrs. McCarter's gourds. But now, she buys where she can. Florist shops often feature them, but, as a rule, variety is limited. The price, however, is reasonable. In the country they may be purchased from farmers for ten cents up, depending upon size and shape. Mrs. McCarter shops for shape.

"In selecting gourds for decoration," she warns, "be sure they are free from cracks and unsightly knots. They must also be sound. In order to avoid decayed interiors, it is a good rule to choose those that have ripened on the vine. And remember, you can't change a gourd's shape. You fit part to part."

THE PROCUREMENT problem solved, select a dry, light, warm, well-ventilated, roomy storage space in which the gourds may lie in state until dry. And that means perfectly dry and hard. Otherwise the paint will peel and the cut rinds will curl. Many authorities say the drying period should be a year. However, Mrs. McCarter finds that it can be shortened by removing the seeds after the fruit has dried several months. But, until a gourd is gone dry, she never applies paint to it.

During this long drying period, Mrs. McCarter settles on the models she wishes to portray. She can make almost anything she cares to out of the gourds—human figures, heads, vases and whatnot. If a chosen type is new to her, as the Chinese heads were when she decided on her first fling at a pair, she begins an exhaustive background study, gathering all possible knowledge of facial expression, color, physical proportions, jewelry, clothing and such. For such details, Mrs. McCarter depends entirely upon the authenticity of the "Encyclopedia Brittanica."

Conversing with her, one has the feeling that she has lived close to the type she portrays. She throws in colorful bits of history, ethnology, folk lore, habits and other information that lead one to this conclusion. It is easy to understand why she is popular in Oklahoma as a lecturer on her hobby.

The long drying period over, the real creation begins with the selection of enough appropriate bone dry gourds for the particular model to be portrayed. These are dropped into water and soaked a short time to prevent cracking while being cut. Then, while wet, they are opened with a sharp knife—careful—and the slightly pithy lining scooped out with the hand, a spoon or anything that will do the job.

Scooping completed, with a sharp knife, the outside of each gourd is scraped until it is smooth and shining. Again they are set aside to dry, the time varying from one to several hours.

This preparation step completed, the fruit is ready to be formed into the model.

"Thus far," Mrs. McCarter explains, "the procedure for all representations is the same. From here on, each model is an individual problem."

WHEN ASKED recently about further procedure, Mrs. McCarter pointed to a tall, undecorated vase on a table beside her. "Here," she said, "is a model which I recommend for beginners. Why? Because it is so easily constructed and has so many possibilities.

"Here is how to construct it:

"Assemble on the table your work tools and a prepared—soaked, scooped, scraped and dried—vase-shaped gourd that fits your purpose.

"Incidentally, just in case you are not familiar with the names of the parts of the fruit, this," she said, running a hand over the fat part of a dipper gourd, "is the body." Then, pointing to a funnel shaped portion, she said, "This is either the handle or the neck. The little point at the end or the handle is the stem end.

"Now, we'll get back to the vase.

"With a sharp knife, whittle and shave the end of the gourd's body—opposite the neck—until it is smooth and level and when set flatly on the table it will support the gourd. Be careful about the cutting. Do not plunge your blade down into the fruit—the line to be cut should be scored several times.

"To make the vase waterproof, shellac the interior. Also shellac the rim.

"Set the base aside to dry.

"As to the possibilities to which I referred you may leave the exterior the natural color, as I have done; paint it a solid color using artist's oils or paint on a design. I have used Indian designs, Mexican designs, floral patterns and conventionals. As you progress in skill, you will no doubt develop your own variations to suit your individual needs."

"HOW ABOUT letting me in on your production method of one of those?" I asked, glancing at a group of figures.

"Very well," she answered enthusiastically. "Let us assume you are interested in the full figure of an Indian brave. All right?" she questioned.

After I had assured her it was all right, she continued: "Be seated at the worktable and I'll tell you, step by step how to proceed.

"Assemble on your worktable, the carefully selected and prepared fruit you need to make your chosen figure."

Lifting five gourds from a shelf and placing them on the table, she said, "We'll use these two almost identical large bodied, long necked specimens; these two medium bodied, long necked ones and this small nest egg gourd.

"Use either of the large fruit for the body and one leg of the brave.

"For the other leg, carefully cut the neck from the body gourd's mate. Now, using that sharp knife or other sharp tool, carefully shave the cut end of the neck to fit the hip joint. With your needle-pointed awl pierce holes through the fitted end of the leg into the hip. Now, using glued reed for pegs through the holes, glue the leg firmly into position on the body.

"For the arms, cut the handles off the two medium sized gourds. Shave the cut ends of the arms to fit the shoulder joints and glue them into position just as you glued the leg.

"For the head and the neck use this little nest egg gourd which I chose because it matches the body in proportion. Cut the stem end off to the correct neck length, shape the cut portion to fit the body and glue it firmly into position, using the same method as before.

"Allow the glue to dry.

"With blackboard crayon sketch on the features. When this step is done to your satisfaction, outline the design in lead pencil so the paint can't remove the trace.

"Now you are ready to paint the Indian's face. (No other part is painted.) This is done with your artist's paints and brushes used as you would use them on canvas. If you have never painted on canvas—well, what of it?" the hobbyist said. "You have art in your system or you wouldn't be interested in this work. Like any other art, gourd art must be learned gradually. So, get busy. 'Practice makes perfect,' you know.

"A primer coat is unnecessary. The face must be carefully painted. I do not give a second coat, but I work diligently, touching up here and there until I am satisfied with the features. Having a flair for originality, I often vary an expression to please the customer. Many professional craftsmen shellac the whole, but I do not. I think the soft blended colors of the paint make the finished product more attractive.

"In a dry, dustless nook, store your unfinished brave until the paint is dry.

"During this paint drying period, make the clothing, bow and arrows, war bonnet and other accessories. If you are not already acquainted with this phase of Indian life, get acquainted by making a check on authenticity through research, or by actual contact with the natives. After the paint is thoroughly dry, glue the hair to position. Thread, raffia, human hair, or any other suitable material may be used.

"The toggery ready, dress and arm the brave, and put his war bonnet on him. Place him in the showroom where he will advertise himself while sullenly waiting for you to complete the figure of his squaw. Unless you have fallen so deeply in love with him that you can't let him go, he'll soon be settled beside her in a delighted collector's exhibit room. All you'll have to show for your work and your fun will be about $35.

"That's all there is to it. Although it's fun and sounds easy, it's not as easy as it sounds. But it's well worth the effort.

"As for pitchers, flowers, animals, and birds, the general procedure is the same as far as selection of parts, construction, paint and the like are concerned. However, like vases and figures, each has its own requirements.

"COME," MRS. McCarter said rising, "Maybe you'd like to see the representative models I keep for exhibition purposes and as a background for my lectures."

Shoving aside a foot-tall gourd Aunt Jemima doing service as a door stop, she ushered me into her exhibit room. I was welcomed by the clappers of blue and gold gourd Christmas bells dangling in the open window opposite the door. My eyes were caught by an Indian brave lying flat upon a marble topped table. Silently savage, bow set, his arrow pointed at me. With the exception of his perfect feather headdress, his long, black braids and highly colored yarn and bead clothing, everything had been made from gourds. All dressed in tribal regalia, his squaw stood beside him. They were so lifelike I was ready to scream when Mrs. McCarter pointed and said: "That's how your Indian brave is going to look after you've followed the procedure I've just given you."

As I gazed about, it seemed as though I was in a collection of territories lifted from history—territories peopled with realistic creatures from far and near. Here, beside the brave, lay a "knocked out" Mexican, which Mrs. McCarter said was one of her favorite show pieces. His head rested on a gourd log, his face wore a sleepy grin. One leg was extended as if kicking, the other stretched stiff as a post. This, the hobbyist pointed out, was one of the examples of unmatched legs. The gourd bust of a Mexican girl in fiesta costume stood near him. Replicas of this pair sell for $50, Mrs. McCarter told me.

Here was a little gourd birdhouse, complete with window boxes and perch. Mrs. McCarter said she hung it out one summer. Guess what happened. A pair of wrens moved in for the season. After they had migrated, she redecorated it and placed it in her collection. A copy sells for $5.

Here were all kinds of gourd flower plaques, wall pockets, two standing bouquets and a spilled one. Copies range in price from seventy-five cents to $35.

Incidentally, here was a spring bonnet that was different—a beauty, made of gourd flowers. Mrs. McCarter will fill orders, the price depending upon the work.

Most of the collection had been done in pairs. All the vases, pitchers and the like were decorated with Indian, Mexican, Chinese or conventional designs.

WHEN ASKED why she makes so many Indian, Mexican and Chinese figures and also portrays them on flat surfaces, Mrs. McCarter replied:

"There are two reasons. First and foremost of these is that, being a sixteenth part Cherokee Indian, I naturally love bright colors and action. These people lend themselves to both. The second reason is that a pretty, baby doll face would be out of place on a gourd. However, my latest model is not one of those you mentioned. See?" She pointed to a perfectly portrayed white man—a farmer—in blue overalls, a gourd spade in his left hand, a gourd watermelon under his right arm.

Wearing shining red buttons on their white-vested breasts, a pair of penguins stood, nearby. Each bird's body and head had been fashioned from a large gourd that Mother Nature had designed especially for it. But for the fact that one penguin carried its head high on a stiff, straight neck, while the other's neck curved naturally, they were identical. "The high headed one," Mrs. McCarter revealed, "is the Mrs. being snooty. Penguins go like hot cakes. A pair retails for $5."

"Only $5?" I marvelled.

"That's right," she answered. "You see the selling price depends more upon the time spent on the item than upon cost of material." Pointing, she said, "Take one of those tiny head wall decorations for instance. The material cost is almost nothing compared with that for a penguin. But, on the other hand, how many hours do you think I spent reading history and anatomy in order to familiarize myself with its type? How many hours do you think I spent making accessories, not to mention the figures? Incidentally, those are most unusual and popular. They bring me $35 a pair."

ASKED ABOUT her advertising and merchandising methods, Mrs. McCarter leaned back in her chair and smiled.

"Since in a small town, news travels like a prairie fire, scarcely had I hit Norman, where I had already exhibited and spoken before a study club, when I was asked to speak and display before the Parent-Teacher Association. Again, pictures of groupings of my creations appeared in state papers. This sent my new address galloping around to fanciers and collectors beyond the word-of-mouth advertising limits. As a result, local sales picked up and orders came from far and near. Every customer was a good advertiser, and as my products went traveling around they advertised themselves.

"With increasing frequency, inquiries and orders are coming from craft teachers and others interested in such work. Particularly in demand are single models which retail from $10 up to $35 and pairs of other models which retail from $15 to $50. Collectors are, and always have been, my best customers."

Mrs. McCarter said she has no difficulty in selling all finished articles not retained for her collection. In fact, she could sell more, but, as she freely admits, she does not work as many hours with her gourds as she would if her livelihood depended upon it.