Jacomina de Regt


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Jacomina de Regt




Jacomina Regt


Le Rowell

Interview Date



Arlington, Virginia


Tina Gordon


Le Rowell (LR): This is Le Rowell and today's date is January 7, 2008, and it is 1:23 p.m. in the afternoon and I'm conducting an interview with Jacomina de Regt for the Quilters' S.O.S. - Save Our Stories, a project of The Alliance for American Quilts. And we are in one of the nice rooms at the Unitarian Universalist Church of Arlington in Arlington, Virginia. So, Jacomina thank you for coming today and thank you for bringing this lovely quilt. Tell me about this touchstone piece that you selected to bring.

Jacomina de Regt (JdR): Well, this was the "Columbine Quilt" and it is also the first quilt I ever made. It took four years to make [laughs.], but it's the first one I ever made and if you actually look at the quality, it would be visible, but it was the first one I ever made. But it's what got me into quilting actually and there's a whole story about this, which I'm going to tell you. Columbines are my daughter's favorite flowers and columbines it became because I would have to show the block.

LR: Okay.

JdR: Because all the way in the corner--

LR: Well, hold on. [gets up and goes to the quilt.]

JdR: Is a block.

LR: [speaks from across the room.] I'm going to the corner to find the block.

JdR: The other corner.

LR: The other corner.

JdR: The other corner.

LR: Okay. Is that it?

JdR: A block of just columbines. Columbine is a flower. [indicates.] Here. Sorry. This one. This is the corner block that started it all. And it starts with the story. My husband died early January in 2001 and I have a group of friends with whom I was co-leader of Girl Scouts and all our Girl Scouts had graduated and they said after my husband died, why don't you join us on Tuesday nights. We always do stitching on Tuesday night. Stitching was knitting, crocheting, quilting, embroidery. They do it all. That's why they call it stitching. So I thought this was very nice of them. It would get me out of the house on Tuesday nights and I walked in there and they had a catalog of quilt fabrics, which I had never seen before. I had no idea this all existed. So I went through this and I saw the state fabrics, state flower fabrics, in the catalog and I said, 'What is this wonderful one with columbines? That's Elena--Elena is my daughter, Elena's favorite flower. Maybe I should make a quilt out of that fabric.' And you know out of the columbine state flower fabric and she off in her first year in college and this would be a really nice thing for her to have because I was just thinking [of.] doing, you know, buying the fabric and doing big blocks and doing something in between. I can sew [laughs.] I used to make wall hangings when I was in college, so I know how to sew very well actually. And I figured I could do that. That wasn't so hard. So, the fabrics came and they weren't at all interesting. Some of the state flower blocks or some of the state flower fabrics actually had the flower that's very big, and this one, as you can see, is very small, a very small flower. It doesn't even look like a columbine unless you know it is a columbine. So that was not at all interesting. Then these same friends said to me we're starting to go to a block of the month challenge kind of thing where once a month we go to one of these quilt shops and they give you a block and for you, who is just starting to get comfortable or starting to learn how to quilt, it might be good for you to come along and then you'll see there are many different blocks and every month you'll get the fabric and you'll get a different block and you'll learn. For 12 months, you'll learn along with us and you'll learn a lot about quilting. So, I thought okay that's fine. Five dollars [laughs.], a five-dollar quilt block. That's sounds like a good thing to do on an early Saturday morning once a month. And I went along and I saw this book in this quilt shop by Ruth McDowell. "Pieced Flowers" it was called. And I had no idea what piecing was, but that's okay. I bought the book because it had columbines in it. And when my daughter came home for spring break, I showed that there were three different designs. I think each flower has three different designs. Some are pieced with really square lines and some are pieced with curved lines. And we decided, thank God, that we would go with square lines not with the curved pieces. I read the book carefully and it said well you can do it pieced, you can do it paper piecing, or you can do freezer paper. Freezer paper is better for this. So, the next month, two months later, I went into this Saturday block of the month and there was a friend there, not one of the group of friends but another friend who used to be my daughter's speech therapist, and I said what is freezer paper? She said, 'Oh, just go to the grocery store. You know the stuff that you buy to wrap meat in for the freezer.' I had no idea that you use anything like that for quilting. I bought my roll of freezer paper and I just merrily started. When my daughter came for spring break, we picked the fabrics. She loves periwinkle and she loves the dark green fabric. So, she picked most of the fabrics and then we decided on the light green fabric for the leaves. And there are three designs in here. You have the columbine frontal, silhouette, and bud with leaves. There's a little bud and then you have the leaves. All of them are asymmetrical blocks, meaning some where not quite in the middle of the block, you go from the periwinkle to the green. And they are something like--I think there are eight paper-pieced pieces that you put together, if you did paper piecing, or a great many little pieces of freezer paper [laughs.] if you don't do paper piecing. Now that I know what paper piecing is, I would have done a very much better job with paper piecing than with freezer paper. This is a quilt that is really--I call it learning--no--making, doing, repairing, doing it--a process quilt. It's like process theology. It's a process quilt. You just go with it. Each block is different. The quarter inches are not always there. And it became kind of boring. There's jokes in there. [laughs.]

LR: Oh? Tell me a joke.

JdR: Well, let's find one. [pauses to locate a section in the quilt.] Okay. One fall, my daughter was studying in Portland, Oregon, and so we went to Mount Hood. And on the way to Mount Hood from Portland is a quilt store. We stopped there and I took a bag of remnants with me. In the bag of remnants were some Christmasy things, so around Christmas I put in a little piece. When I was doing one block, I put in a piece of Christmas fabric. There's one that is Thanksgiving, done around Thanksgiving, which has a turkey hidden in it--in the block.

LR: We'll search for that.

JdR: We'll search for that. Exactly. As you can see it has--there's the turkey [indicates.]. Here is the block with a turkey and a little Indian hidden in between the leaves. It's a bud block. Every block has a different color and that's because we very deliberately went on the web to look for what the colors in nature are and we came away totally amazed because nature actually makes columbines in just about every color of the rainbow, which we didn't know. So, we started off with the light purples and the light blues that my mother has in her garden all over, which we also have in our garden. Then we did reds because the wild columbine in Oregon around Mount Hood in Oregon is actually bright red. It's beautiful. I have now seen it. And then I just went, you know, a little wild. There are orange columbines. They really do exist according to the web, but I've never seen it. We obviously have a light yellow one. And the light yellow ones are fussy cut vanilla bean flowers because they apparently, columbines, are super fragrant, which I again never experienced, but we wanted to have--I wanted to have one in there that would be fragrant. And my daughter is an avid reader, so there is one in there that's made of fabrics of Alice in Wonderland.

LR: Ah!

JdR: So that's the joke basically. So, we got it all finished in the summer of 2004 I guess and laid it out. She laid it out and labeled every block saying 1-2-3 row, and it was so boring. It was totally [laughs.] boring. There was no way I was going to do this [laughs.] So, in the fall I laid it out diagonally and I added green in a very irregular way. The blocks are kind of all the same size because I added strips to make them more or less the same size, but I deliberately then put in negative space so that the blocks would float and now I really like it. But it was awfully boring the way it came out [laughs.] So, I also did think I needed to show what started it all. I put it in one block with the columbine state flower fabric for the State of Colorado I believe it is and one little bud. That's the quilt.

LR: You mentioned a fussy cut. What is that?

JdR: It's when you take a piece of fabric and you say I want exactly that shade in that piece of fabric to be that piece on my quilt and so you put a little pattern on and you cut around it with freezer paper. So, you put your little pattern on, you cut around it, and you get exactly that little bit of light yellow in this case out of the flowers, which had both whites and light yellow and black stamen, I wanted exactly that light yellow to be represented in the flowers. But you wouldn't notice these were vanilla flowers because you wouldn't see it as a vanilla flower any longer.

LR: How did you collect the fabrics?

JdR: We bought them because I had no stash.

LR: All in one place or--

JdR: No. In many different places. Like the Alice in Wonderland came from my friends. They were leftovers from one of my friends from a project she had. The vanilla also comes from a friend of mine that had done tropical fruits and had some pieces of tropical fruit fabric leftover. Some of the leaves, the leaves with red come from a blouse that I bought at a yard sale because it had just the right shade of green. So, I bought a blouse. I cut up the blouse. And again, cut out of the blouse just the pieces because this blouse has the sea and palm trees and tropical. It's a tropical probably a Hawaiian type of blouse, so again out of the blouse I just cut the pieces that had the right shade of green. Other than that [indicates fabrics in the quilt.], this is leftover from another quilting project. This is the blouse again. This is the Alice in Wonderland. There is one other fabric that is a bit of a joke. [indicates fabrics in quilt.] Here are the vanilla beans. Here's another blouse. There is one electric blue bud in here. And the electric blue one is because that does not occur in nature. It's because my daughter likes shiny fabrics.

LR: Oh.

JdR: So, there's one bud that you can hardly see. Just like you can hardly see this one. [indicates a piece of fabric in the quilt.]

LR: Yes. Yes.

JdR: It's in here. [laughs.] It's electric blue just to signify her kind of love with shiny fabrics.

LR: This is a very large quilt. How do you use it?

JdR: She uses it on her bed. She moved from Portland, Oregon, when she had graduated, to Leiden, to the Netherlands, and I took it with me in the fall of 2004 when she moved there to do her masters. And she had a bed that was big enough that she could use the quilt. So, after she finished her masters, two years later, in 2006, the quilt came back home again, because she wasn't sure where she would find employment. Now she lives in Madrid [Spain.] and she has just moved into a room where a large enough bed could be placed again and the quilt could actually go back to Madrid, but I didn't let her take it last week.

LR: This is a transportable quilt?

JdR: Very much.

LR: So eventually, whose quilt will this be?

JdR: No, I think when I go to Madrid in February, I will take it again. It's just for this particular interview I wanted to have it here.

LR: Ah. That's very nice.

JdR: Yeah.

LR: Good.

JdR: So that's the story of the quilt. The back is a sheet and it was called "Water" and I thought that was highly appropriate because it was a king size top sheet and water is really what plants need.

LR: And combined beautifully with the sashing.

JdR: Beautiful. It's just really the right thing.

LR: So, let's talk a minute about your involvement in quiltmaking. What is your first memory of a quilt?

JdR: When I was in college I did wall hangings, so that's not quilting that actually--but it's artistic sort of wall hangings.

LR: Done out of fabric?

JdR: Out of fabric. Yeah. That was the other part of my brain. So, when I was writing my thesis, so I wouldn't go nuts, I went to the town, to their parks and recreation kind of service and they offered this kind of a course.

LR: Where was this?

JdR: All in the Netherlands.

LR: In the Netherlands.

JdR: Yeah. And a friend and I basically joined a group of women, housewives. We were--very unusual to have students there, but we had a lot of fun. We learned all kinds of techniques, dyeing. And we just had an enormous amount of fun there [laughs.] And then a real quilt, the way American quilts are, is probably the one that I brought in to show you. The one my husband's grandmother made. My husband is an American and his grandmother earned penny money, literally penny money, by quilting for other people or making quilts. But really, the way the story is, is that she quilted for other people and that she charged a penny for a certain length thread. And I don't know what the length of thread is. The double ring wedding quilt that I got is one that his grandmother made and that was like the first American quilt I ever really saw. I wasn't really aware of quilting until that time. And then I mean I really just sort of fell into it [laughs.] through my friends.

LR: And you learned?

JdR: I'm learning on the way. I do a lot of it just by experiment because I hardly ever make beds quilts any longer. I make art quilts now that hang on walls. I do take lessons occasionally, but I experiment an awful lot myself. And I learned a lot the first year by doing the block of the month. I joined a guild and they also do block of the month, so I used that as a challenge to also teach myself to do what they would consider proper quilting things, you know where every point matches.

LR: What guild is that?

JdR: It's the Falls Church QU that's Quilters--

LR: Unlimited?

JdR: Unlimited. Yeah. Right. The big one.

LR: Yes.

JdR: The big one that's all around here. And each guild has a bit of its own culture. So, the one that I'm in is actually quite traditional. I don't think that there's anybody there that makes art quilts but me, so what. It's a nice group of people to see occasionally and I keep trying to participate in their block of the month so that I will at least keep having some practice in doing normal, normal blocks.

LR: Do you have a special place in your home where you do your quiltmaking?

JdR: I do now.

LR: Tell me about it.

JdR: I remodeled my house in 2003/2004 and made a whole studio. But the studio only got finished this fall when I actually retired and had the time to pay some attention to it. So really only these last few months have I had the studio with a cutting table at my own height, a large sewing table. It is in an L-form so the quilt doesn't fall off and doesn't pull on my sewing machine, and of course an iron board at my height and a design wall. Now I have it all. Gel mats so I don't get back pains when I stand and cut for a long time [laughs.] [LR laughs and agrees.] I really now have a quilting studio. All the fabrics. The stash organized by color and by subject. So yep, it's finally gotten there. It took three years to get it organized. Because when we remodeled the floor flooded, so the floor had to be broken out again. It was a long project to get that studio actually in shape.

LR: What do you find most pleasing about quiltmaking?

JdR: Making the tops and working with the fabrics and going into a flow. It's that creative flow. It's saying, 'Yeah.' That's why I like the art quilts. Yeah, if I put some gauze over here, that will actually give that tree in the distance exactly the right kind of shadow. Let me cut up a pantyhose, maybe that will do it. No, that doesn't do it. Let me take something else. My son cut off the tops of his gloves around Christmas and I've taken these little tops and put them as shadows around a mountain that I was doing on a project and it's just gorgeous [speaks with excitement.]. [LR laughs and agrees.] It's just like weird, but that gives me enormous pleasure. Oh, look at that. This tiny little round thing makes exactly a mountain range in the far distance. So, I also love to use found objects. Things that just show up. And when they give me an idea then I feel really in the flow. I don't like finishing. I don't even like quilting actually. If I have to do another bed quilt, I'm going to send it out for somebody else to quilt because I feel like I'm not good enough at it and that it detracts from the design and the artistic design. So, I am indeed working on a bed quilt. I'm not going to do it myself I'm making one for my son and I'm not going to quilt it myself.

LR: And do you work with more machine work? More handwork?

JdR: All machine.

LR: All machine.

JdR: I've quilted quite a few baby quilts for other people because in my group people hadn't learned how to do machine stippling yet, and so they would say of the group projects we would do, the bee group projects, they would say okay. We all do a few blocks and then Jacomina will you just quilt and stipple that baby quilt and that would be one of the quilts to give away. So, the smaller size I don't mind especially if they are to be used like baby quilts, but something that really, really matters to me, I'm going to have it done by somebody else.

LR: Have advances in technology influenced your quiltmaking and how?

JdR: Well, since I've only done it since 2001, you know I'm not one like I've heard other people say oh when the rotary cutter came in it just made life so much nicer, but I've always known a rotary cutter. I have never worked with scissors or anything like that. What I'm finding that I'm going to go towards is--but I haven't done it--is using those metallics and using the metal foils, the metallic foils on quilts. That's where I want to go next and I think that's part of this newer technology. I bought some of the Angelina fibers, which I haven't used it, but I'm stocking up on some new things that I'm going to try.

LR: Interesting. How many hours a week do you quilt?

JdR: It's very hard to say because I used to work very, very, very many hours, so now that I retired I actually have done more this fall than I've done sometimes in a year. I'd say maybe four or five hours a week. I really don't spend that many hours.

LR: You mentioned that your husband died. Has quiltmaking helped to sustain you through difficult times?

JdR: Tremendous. I mean that's why I call this the touchstone quilt because once I started on this, it was like two or three months after my husband's death, there were very many Saturdays when I walked early in the morning with a friend and then what was I going to do the rest of the weekend. My son was home but my son was a teenager, had all his own activities. So, this particular quilt with all these tiny little pieces has been a godsend to me because I could say to myself well I can just do another one of these little blocks of three pieces that need to be cut and put together or I can put part A and part B together. It was very small tasks. It was one of the things that when you were grieving that hospice always tells you is you lose your concentration, and so this was perfect because it was very small tasks. Sew A and B together. Sew part 1 of A and part 2 of A together. Then, you know, just very small tasks literally. [laughs.]

LR: Yeah.

JdR: About 3 or 4 inches of work and you didn't have to take the whole big quilt and work on it. So, for me it's been a godsend and it was gradually the pleasure of the creation also that brings a lot of help. And it's brought a lot of new friends. So, it fills up the hours, brought new friends, brings pleasures. It's all sorts of good things.

LR: You have given quilts as gifts?

JdR: Yes. Practically all of them. I have never made one for myself. [pauses briefly.] I mean I can't actually think. A quilt for beds for myself I've never made. I've made one that hangs on the wall, one little wall hanging that depicts the moment of my husband's death. It's a daffodil--a tete, a tete daffodil with three daffodils--three flowers, and because he died with each child on his shoulder asleep and my sister said, 'Oh, that it looks just like the Tete a tete.' I made that quilt two years later on his birthday when he would have turned 60. It just came to me one morning when I was walking. Ah, I can make a Tete a tete quilt. So, I did. That I did really fast because I wanted to do it in that month and that's the only quilt I actually made for myself, really for myself. I made one that was a class project that hangs in the house, which is Matisse-inspired quilt. I made one Hoffman Quilt Challenge, which of course they send back saying no, no, no, no, no. [both laugh.] It wasn't good enough. And then I said, 'Now what do I do with it?' It was so much fun making it. And they weren't made for me. They were made for a purpose.

LR: Well, in some ways you're fortunate that you don't have so many quilts that you don't know what to do with them.

JdR: That's true.

LR: So that's a very creative spirit in you.

JdR: Yeah.

LR: What do you think makes a great quilt?

JdR: [pauses.] To me, because I have now gone to quilt shows so I have seen great quilts. To me, it is one that actually has a little unexpected something in it. So, I can admire a quilt that is perfectly made and where the colors perfectly match and all that, but they don't inspire me. The ones that inspire me are the ones where there is unexpected color combinations or unexpected perspective or the use of unexpected materials. Sometimes the subject matter, but to me a great quilt should actually be a piece of art.

LR: And what makes a great quiltmaker?

JdR: That I don't know. There are so many great quiltmakers [laughs.] I mean there are great quiltmakers that make fantastic traditional quilts, there are great quiltmakers that make fantastic art quilts, and then there's an enormous amount of us that are mediocre quiltmakers [laughs.] I must say.

LR: But who have a lot of fun?

JdR: But who have a lot of fun in the process. So, I think it's somebody who doesn't follow a pattern or a color combination that's given by prescribed but who puts her own soul into it. That's what I would think makes a great quiltmaker. On the other hand, I admire the people who use up every little piece. I mean the Gee's Bend quilts. We have this joke in our house that mom's going to make a utility quilt based on the Gee's Bend where they had the jeans and whatever. They had the work fabrics, the work coveralls, and all that. And they just made a quilt out of it. So, the kids say some day you're going to use up all our old jeans and you're just going to sew them willy-nilly together [laughs.] and I actually feel like that would be a great thing to do just to make something straight out of the fabrics that come out of the jeans. Not again neatly put in blocks like I've seen it but just wildly sew it together like the Gee's Bend quilt. That would be fun.

LR: So, you have lots of ideas percolating?

JdR: Yeah. Yeah. Several.

LR: Have you had time to think about the importance of quilts in American life?

JdR: Well, yes, because I've looked at some of the history of it. So what intrigues me is now it is seen as something so exclusive and people go and buy fabric and basically it was just one way that women - one of the tasks that women would do. You use up the fabrics you had, the old clothes you have. You come together, you work it out, and you help each other, and you basically make sure your family is warm. And then you take those quilts and you--when I look at American history and women's history specifically, and then you see how that was one area where creativity within bounds or blocks was allowed and were artistic expression also. For some women it was one way they could have an outlet for their artistic expression while other avenues weren't open. You could do it with your flowers in your flower garden and with your quilts. Maybe in how pretty you could, how you put your vegetables together, but that was the way society allowed you to be artistic. And within those historic strictures I think there's been a lot of very pretty work.

LR: How do you think quilts can be preserved for the future?

JdR: Digital cameras [laughs.] Web pages. I'm putting my own web page together about my quilts. It's another thing you can learn to do when you retire. And I feel that would be one way to actually keep the stories alive. I know what you're doing is also a way of putting your stories together, but for each of us who are making quilts we could just do our own preserving that way. The really good ones are in a museum. I think that's fantastic.

LR: But we don't have enough museums.

JdR: No. Not at all.

LR: What do you think is the biggest challenge confronting quiltmakers today?

JdR: I think it's three. One is fads. There's a lot of fads that seem to come and go and then everybody seems to have to do something. Last year it seemed to be vegetables and fruits. Why do you have to follow these? One is there is so much fabric out there and the lines change so fast that you almost have to conceive a project in its totality; otherwise, you can't find the right shade of green or the right shade of blue any longer because it's out of fashion, so I think the fast changing market of bringing out new fabric lines all the time--all the time is actually an obstacle to developing a quilt slowly. And there were three obstacles right?

LR: Yes.

JdR: And the third one is the peer pressure. The peer pressure to produce and produce and produce. And I see this so much in the guilds. It's like people make themselves feel guilty rather than enjoy the process. I haven't done that or I haven't done that; I haven't done that. Maybe I should do one of those also because she has done one of those. I feel that part of the enormous friendship and support of the guilds is negated by the peer pressure that also is generated in the guilds.

LR: And this production, is it quality? Quantity?

JdR: Quantity in my opinion. It's just quantity. What I see is quantity, quantity, quantity. Do you see what I'm saying? So, what if you produce one quilt every two or three years. If you had a real creative process for it. It's very interesting I think how this hurry-up society is reflected in this quiltmaking that could be reflective.

LR: Interesting. Is there pressure for entering quilts in competitions? Have you entered any in competitions?

JdR: The one Hoffman Challenge, but that's that. No. I have never entered a show or anything like that.

LR: Is there pressure though for that in the guilds along with the quantity?

JdR: Probably. I've just never participated in that because I figure I have a busy enough job. I don't need more stuff to do. And it was also because I hadn't actually gone to too many quilt shows yet, so I didn't really know what quality they hang on the walls. Now I know that actually you could probably enter something into the quilt shows of the Quilters Unlimited Guild because not all of it is super high quality. So, it doesn't really matter that much. There is among the quilters in the guild that to really feel that they are real members there is pressure to produce one for the show. Yeah. I can see that, but I've never felt that pressure myself.

LR: What do you see as the future for quiltmaking?

JdR: [pause.] Well, I think--what I did this summer is I taught an 8-year-old how to quilt and I taught every step of the process. She had picked the fabrics, so I taught her to rotary cut. I taught her to sew on my sewing machine. I taught her to label every block and put it in the right order and all that. I taught her how to put a backing on and I think that appreciation for how much time it takes to do a double bed quilt to that younger generation is something we could transmit and I think it is actually a good thing to transmit. To not maybe your own grandchildren but other people's grandchildren. I found it a very rewarding experience to work with somebody who age-wise could be my grandchild but wasn't and wasn't related to me and who just showed interest and started to appreciate it. So, I'm seeing it skip a generation and that generation might well be the one to take it on again. I also see these enormous divergences between quilting and art quilting, and some of the art quilting is way out there. I'm hard pressed to call it quilting [laughs.] And saying to myself, 'Is this really quilting?' Yes, you do two pieces metals, really hard metal. I saw one of those the other day. Take a torch, cut out the metal, and then you put holes in it, you take a rope, you put something in between, and you have a metal quilt, which I thought was very, very clever but boy that person who produces that kind of a quilt is a welder basically. [both laugh.] Is a very different person from the person who takes a log cabin block and sits down and separates light from darks and does a beautiful job of making the shadow and the light come to life to work on a quilt. And I don't think they understand each other. I see that divergence coming more and more and more, and with one calling the other one not real quilters or you're just stuck or things like that. I feel like the appreciation of those two quilts of each other is not there or is actually growing apart. That kind of answers some of questions about the future.

LR: It's very interesting actually. So where would you place yourself in this dichotomy that you're describing?

JdR: I get more fun from trying something new, but I would like to stick with fabrics.

LR: No metal?

JdR: No metal [laughs.] I'm not interested in becoming a welder. I'd like to stick with fabric.

LR: We're almost out of time, but I wanted to ask you have you done any more teaching besides the one 8-year-old?

JdR: No.

LR: Do you plan to?

JdR: Only if it comes up again organically like this. You know, just needs to develop. I wasn't planning on organizing a class for 8-year-olds because I think I would go nuts actually if I had to interact with more than one. But this was very satisfying.

LR: I think our time is just about up. So, is there anything else that you would like to add before we finish?

JdR: Well, in conclusion I can say that I really appreciate the fact that there is so much attention to quilting because it does open doors. It does open up opportunities for many, many people, men and women. There are more and more men coming into this. And I appreciate the fact that you're trying to document. This is a grassroots movement that is definitely very, very interesting with lots of different streams in the movement. So, thank you.

LR: Well, Jacomina thank you for being part of this interview process for the Quilters' S.O.S. - Save Our Stories and our interview was concluded at 2:08 p.m. Thank you very much.



“Jacomina de Regt,” Quilters' S.O.S. -- Save Our Stories, accessed May 27, 2024, https://qsos.quiltalliance.org/items/show/2040.