QUILT INDEX RECORD

40-38-572

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.11

Documentation Site:

Laurel Park

Date data collected:

06-08-2016

Quilt's title:

The Children of Lir

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:

The Children of Lir

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?

Who will inherit this quilt is yet to be determined.

Date finished:

c.2001

Place made:
City

Sunnyvale

State

California (CA)

Country:

United States

Top made by:

Durcan, Philomena

Quilted by:

Durcan, Philomena

Reason(s) quilt was made:

Other

Details about why the quilt was made:

To create designs reflecting the characters from "The Legend of the Children of Lir."

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

This quilt has been exhibited at museums and shows.

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:

Celtic Quilt Designs II: The Children of Lir continues my fascination with Celtic design. In preparing for this book, I researched many books on Irish myths and legends. I have always been enchanted by magical stories such as "The Taking of the Fairy Mounds", "The Wooing of Etain" and "The Fate of the Children of Lir", and many many more. I chose "The Children of Lir" because when I visited my niece Grainne and her family in Portland, Oregon, her children were reading it and discussing it. Happy memories of my own childhood stirred a desire in me to design a quilt depicting this legend. In working on the designs in this book, once again I was drawn to the early Christian period and the art treasures it produced. Celtic art came alive again in the fifth century when Christianity entered Ireland. For the next 500 years Celtic and Christian art and symbols merged into truly unique art forms. Zig Zag, diamonds, spirals, triangles, squares and interlace were used in stunning forms. Among them, interlace especially caught my imagination and inspired me. I drew from the illuminated manuscripts that combined Celtic and Christian symbols in gold and silver and brilliant color. The books of Durrow, Kells and Lindisfane are magnificent examples of this early art and may be seen at Trinity College in Dublin and at the British Museum of London. They are illustrated with interlace patterns, fascinating animal forms and brilliant hues. The "Book of Kells" has been described as "the work of angels not of man" (G. Frank Mitchell, Treasures of Irish Art 1500 B.C. to 1500 A.D.). The old cloak fastenings typical of the Celts were beautiful adornments. Though not Christian, the Tara Brooch is covered with detailed design. Like the Ardagh Chalice, its details and materials are of superior quality. The Chalice is considered the finest example of eighth century metal work ever found in Ireland and was discovered by a young boy digging potatoes over 100 years ago in Ardagh, County Limerick. The Chalice is covered with filigree, engraving, cloisonne, and enameling.

This is a:

Finished quilt

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

42"

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

42"

Quilt Layout Format:

Nontraditional or art

Shape of edge:

Straight

Predominate Colors:

Beige or Tan; Cream; Pink; Turquoise or Teal

Overall Color Value:

Multicolor

Damage to Quilt:

Fold marks or creases

Overall Condition:

Excellent/like new

Family/owner's date for quilt:

c.2001

Date Time Frame:

2000-2025

Quilt Top Materials and Construction
Fibers types in Top:

Cotton

Fabric types in Top:

Sateen; Other

Fabric patterns, styles or prints used:

Hand-dyed; Print; Solid/plain

Describe any unique characteristics of fiber, fabric, or fabric prints used:

Cotton Brocade was used in the construction of this quilt.

Applique techniques:

Hand Applique

Quilting Description:
Techniques Used:

Hand quilting

Number of stitches per inch:

6 to 7 per inch

Thread Type:

Cotton

Thread Color:

White

Width between quilting lines:

1/2" to 14", sparse density

Knots visible?

no

Overall Pattern Design:

In-the-ditch

Decorative Patterns:

Other

Binding:

Bias grain

Width of Binding:

less than a half inch

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

1/2"

Quilt Batting
Materials Used:

Cotton

Batting Loft:

Thin

Describe the quilt filling:

Batting loft is Thin.

Quilt Back Materials:

Cotton

Predominate Color of Backing:

White

Number of pieces of fabric in the quilt back:

1

Width of pieces (nearest 1/2"):

42"

Source of Quilt's Materials:

Purchased new

Quilt Top Pattern Source:

Commercial/Published source: Book; Original to maker

Describe the source of the pattern:

"Celtic Quilt Designs II" by Philomena Durcan.

Quilt Design Pattern Source:

Public domain

Details

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