QUILT INDEX RECORD

40-38-569

Where are the records for this quilt housed?

International Quilt Museum

Who documented this quilt?

Oregon Quilt Project; Philomena Durcan Collection

Oregon Quilt Project ID#:

2016.WA.LP.08

Documentation Site:

Laurel Park

Date data collected:

06-08-2016

Quilt's title:

Celtic Splendor

Ownership of this quilt is:

Private

Owner's Name:

Durcan, Philomena Theresa

Quilt owner's city:

Portland

State

Oregon (OR)

Quilt owner's county:

Multnomah

Quilt owner's country:

United States

Quilt name or pattern used by family/owner:

Celtic Splendor

Owner's relationship to quiltmaker (if any):

Quiltmaker

How was quilt acquired by owner?

Made by owner

Any additional stories or notes about the quilt's history or ownership?
Who will inherit this quilt?

Designed by Philomena Durcan and Walt Wiechec to reflect the Lynch Method of Celtic Art. A Chapel yet to be determined will inherit this quilt.

Date finished:

c.1981

Place made:
City

Sunnyvale

State

California (CA)

Country:

United States

Top made by:

Durcan, Philomena

Quilted by:

Gardner, Pat

Reason(s) quilt was made:

Other

Details about why the quilt was made:

To honor the chapel designs into fabric.

Has this quilt been exhibited, displayed, or entered in competitions?

This quilt has been exhibited at the World's Fair 1983 in Knoxville, Tennessee.

Quiltmaker's Occupation, at the time the quilt was made:

Homemaker, Quilter, Author. Teacher. Owner of "Celtic Design Company".

Quiltmaker's birth date:

10-15-1934

Name of the city where the quiltmaker was born:

County Sligo

Name of the country where the quiltmaker was born:

Ireland

Highest education level completed:

High School

Quiltmaker's spouse's name:

Wiechec, Walter

Spouse's Occupation:

Physicist

Quiltmaker's maiden name:

Durcan

Quiltmaker's ethnic background/tribal affiliation:

Irish

Religious Affiliation:

Roman Catholic

Number of children:

None

Did the quiltmaker make other quilt? approximately how many?

20-50 quilts

Major influences on quilt making?
Other interesting information about the quiltmaker:

My mother was a lacemaker and taught her craft. She also made lace for the church's altar cloths. She did not require that I learn sewing. I learned to sew and quilt after I married and moved to California.

Did the quiltmaker participate in group quilting activities?

Yes, Studio 12 and Sew N Sew Clubs in Sunnyvale, CA, USA. It was great fun and we all learned together. Marmie Schraub and Pat Gardner help me develop the bias tape applique technique. A wonderful friendship group.

Favorite pattern:
Piecing preferences:
Quilting is done with:

Favorites: Piecing: by hand Quilting: hoop

Reason(s) for quiltmaking:

Gifts; Pleasure; Other

Notes on how the quiltmaker learned, and how and why they quilt:

My four books were published after the quilts were designed and made. More than one quilt design is included in the second, third and fourth books.

Do you know if any of the following exist?

patterns for quilting photos of quiltmaker Photo of quilt Quiltmaker's patterns Publications

Please give other stories, customs, or interesting information about this quilt:

While in Dublin, my sister Eileen and I visited the convent and the sisters welcomed us. Even though this was a silent order, they were busy talking to us as they served us tea. We had a lovely time. The sisters allowed us to roam around the chapel. We were there a long time looking at all of the art work. As of 2016, the chapel is open to the public with limited hours. A photo of this quilt was included in the American Quilter's Society's annual calendar book for 1985. It has also appeared in quilting books and magazines in the U.S. and Japan. The center medallion was made available as a stand alone pattern. But the whole design was not included in any of the books or sold as an individual pattern. Write up on Sr. M. Concepta Lynch O.P.: In 1874, a daughter, Lilly, was born to a renowned Dublin illuminator, Thomas Joseph Lynch. This daughter eventually became as skilled as her father. When he died, Lilly left her school at Dominican Convent, Dun Laoghaire, to take over her father's studio. Under her artistic genius and business competence it continued to flourish. At the same time, Lilly continued to develop her musical talents which were also considerable. At the age of 22, Lilly left her studio and entered with the Dominican Sisters, becoming Sister Mary Concepta. Her talent did not lie dormant as she taught Art in the school and she was also continually involved in musical activities. In 1919, after the first World War a small unadorned Oratory was built in thanksgiving for the then-recent peace. In 1920 she began her masterpiece, using her background and experience in producing work according to the design of ancient Irish non-representational art as it had been used in the decoration of early Irish manuscripts. She integrated ancient symbolic designs with new designs of her own, blending them to form a harmoniuos whole. She eventually had to yield to her failing health. However, in sharing her genius with us through the 'Lynch Method of Celtic Art' and through the Oratory, she takes her place as one of the greatest Irish artists of the century.

This is a:

Finished quilt

Overall width (in inches, to the nearest 1/2"):

76"

Overall length (in inches, to the nearest 1/2"):

97"

Borders: _1 _2 _3 _more than 3

1

Quilt Layout Format:

Medallion or framed center

Shape of edge:

Straight

Predominate Colors:

Cream; Purple; Turquoise or Teal

Overall Color Value:

Multicolor

Describe the damage:

None

Overall Condition:

Excellent/like new

Family/owner's date for quilt:

c.1981

Date Time Frame:

1976-1999

Types of Inscriptions:

Date; Message; Multiple Names

Content of Inscription (enter verbatim):

Celtic Splendor by Philomena and Walter Wiechec Feather designs by Marmie Schraub Quilted by Pat Gardner 1981

Date of inscription (enter verbatim):

c.1981

Quilt Top Materials and Construction
Fibers types in Top:

Cotton; Silk

Fabric types in Top:

Broadcloth; Muslin

Fabric patterns, styles or prints used:

Floral; Solid/plain

Applique techniques:

Hand Applique

Quilting Description:
Techniques Used:

Hand quilting

Number of stitches per inch:

9 per inch

Thread Type:

Cotton

Thread Color:

Cream

Width between quilting lines:

1/2" to 1", medium density

Knots visible?

no

Overall Pattern Design:

In-the-ditch

Decorative Patterns:

Cables; Feathering

Background Fill Patterns:

Grid/crosshatch

Binding:

Bias grain; Hand sewn; Machine sewn

Width of Binding:

less than a half inch

Specific Width of Binding (measurement to nearest 1/16"):

1/4"

Quilt Batting
Materials Used:

Polyester

Batting Loft:

Thin

Describe the quilt filling:

Batting loft is Thin.

Quilt Back Materials:

Cotton

Predominate Color of Backing:

Cream

Number of pieces of fabric in the quilt back:

3

Width of pieces (nearest 1/2"):

15 1/2", 42 1/2", 17".

Describe the back:

Hand sewn

Source of Quilt's Materials:

Purchased new

Quilt Top Pattern Source:

Original to maker

Quilt Design Pattern Source:

Public domain

Details

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