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Other Name
BLACKWORK EMBROIDERY
Material Type
Artifact
Materials
COTTON, WOOD, GLASS
Catalogue Number
P20170033001
  2 images  
Material Type
Artifact
Other Name
BLACKWORK EMBROIDERY
Date
2011
Materials
COTTON, WOOD, GLASS
No. Pieces
1
Length
65
Width
42
Description
BLACKWORK EMBROIDERY IN MATTE AND FRAME. EMBROIDERY COMPLETED IN BROWN ON WHITE FABRIC, AND SHOWS THE 1910 GALT HOSPITAL FRONT. EMBROIDERY INSIDE BROWN AND GREY MATTE AND BROWN WOOD FRAME WITH GLASS OVER. FRONT OF FRAME HAS BLACK ENGRAVED PLAQUE ON BOTTOM EDGE READING “GALT HOSPITAL/MUSEUM & ARCHIVES, 1910, DESIGNED AND STITCHED, 2011, BELINDA CROWSON”. BACK OF FRAME COVERED IN BROWN PAPER WITH SILVER WIRE ATTACHED FOR HANGING. BACK OF FRAME HAS WHITE LABEL WITH TEXT “LA GALLERY CUSTOM FRAMING & ART, 421-5TH ST. SOUTH, LETHBRIDGE, AB T1J 2B6, PH. 380.4556, FAX 380.4562, WEBSITE WWW.THELAGALLERY.COM, EMAIL INFO@THELAGALLERY.COM, W/O # H0761, ASSEMBLED BY CM”” WITH CHECK BOXES ON LABEL FOR “MOUNTING METHOD” AND “GLASS”, “NON-GLARE GLASS” CHECKED. FRAME HAS CHIPS ON FRONT EDGES; BACK HAS TEARS IN PAPER BACKING. OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON NOVEMBER 16, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BELINDA CROWSON REGARDING HER DONATION OF A MUNICIPAL CAMPAIGN SIGN AND BLACKWORK EMBROIDERY PIECE. CROWSON WAS EMPLOYED WITH THE GALT MUSEUM AS THE MUSEUM EDUCATOR, WITH A REPUTATION AS A RENOWNED LOCAL HISTORIAN, UNTIL HER ELECTION TO CITY OF LETHBRIDGE COUNCIL IN 2017. ON THE BLACK EMBROIDERY PIECE, CROWSON RECALLED, “SHARING [THIS] WAS HARD, BECAUSE THIS WAS THE FIRST [PIECE] I DESIGNED…AND I VERY MUCH KNOW THE MEANING. IT WAS HANGING IN THE CLASSROOM [AT THE GALT MUSEUM] FOR YEARS, BUT IT WAS VERY HARD [TO GIVE UP], BECAUSE I DESIGNED IT; I STITCHED IT; AND IT’S A PIECE OF MYSELF.” “IT IS SOMETHING THAT I ACTUALLY DESIGNED, AND I HAD NEVER DESIGNED A PIECE BEFORE. I HAD TO LEARN HOW TO DESIGN IT, SO I ACTUALLY HAD A PICTURE AND GRAPH PAPER. I LEARNED HOW TO TAKE A PHOTOGRAPH, AND TURN IT INTO BLACKWORK STITCHES, EVEN THOUGH, OF COURSE, IT’S DONE IN BROWN, AND NOT BLACK. THE NAME DOESN’T ACTUALLY MEAN THE COLOR.” “BLACKWORK COMES FROM THE ELIZABETHAN TIME, AND IT WAS DONE WHEN LACE WAS REALLY EXPENSIVE. THEY WOULD TAKE BLACK THREAD ON WHITE MATERIAL. IF YOU DO BLACKWORK PROPERLY, IT’S ABSOLUTELY REVERSIBLE. IF YOU DID IT ON CUFFS OR COLLARS IT WOULD ALMOST LOOK LIKE LACE, AND BE REVERSIBLE FROM BOTH SIDES. IT’S A TYPE OF EMBROIDERY THAT USES PRIMARILY STRAIGHT LINES. I TAUGHT A CLASS TO PEOPLE AT THE GALT MUSEUM [ON] HOW TO DO BLACKWORK. I ACTUALLY TAUGHT AN EMBROIDERY CLASS IN THIS DESIGN, WHICH IS A VERY SIMPLE TYPE OF EMBROIDERY TO DO, BUT CAN CREATE INCREDIBLY ELABORATE DESIGNS.” “I COMPLETED [THIS PIECE] IN 2011 AND HAD IT FRAMED THAT SAME YEAR. IT’S SUEDE AROUND THE PICTURE MATTE.” “SOMETHING LIKE THIS SIZE OF PICTURE, IN BLACKWORK, PROBABLY ONLY TOOK ME ABOUT 2 WEEKS TO STITCH. IT’S A VERY QUICK DESIGN, BUT IT FILLS IN – AND, IF I WAS TO REDO IT AGAIN, I’D FILL IN MORE OF THE BLANK SPACES. [BLACKWORK IS] SUPPOSED TO LOOK AS COMPLETE AS POSSIBLE, BUT I WANTED TO MAKE THE COLUMNS STICK OUT, SO IT MAY HAVE WORKED IN THAT REGARD.” CROWSON ELABORATED ON HER BACKGROUND DOING EMBROIDERY, NOTING, “I HAVE BEEN DOING EMBROIDERY SINCE [I WAS] A KID. IT’S SOMETHING MY GRANDMOTHER KNEW; MY MOTHER KNEW; IT’S SOMETHING I WAS TAUGHT, AND, OF MY SIBLINGS, I’M THE ONLY ONE WHO DOES IT. THE OTHERS LIKE TO DO MORE STITCHING WITH MACHINES. I LOVE THE HAND-STITCHING, AND I HAVE LONG BEEN THINKING ABOUT DESIGNING. I ALSO HAVE A PASSION FOR HISTORIC BUILDINGS. I HAD DONE A BLACKWORK PIECE, WHICH WAS A PATTERN THAT I HAD BOUGHT AND I ABSOLUTELY LOVED IT. IT’S A REALLY NICE WAY OF DOING EMBROIDERY, SO I THOUGHT “THERE’S A WAY OF CAPTURING HISTORIC BUILDINGS IN A VERY DIFFERENT WAY.” I MADE MYSELF A CHALLENGE OF FIGURING IT OUT, AND, OF COURSE, THE WAY I DO MANY THINGS, I DIDN’T ACTUALLY RESEARCH HOW TO DESIGN. I JUST TAUGHT MYSELF, AND IT TOOK ME A WEEKEND. I THREW AWAY ABOUT 3 DESIGNS, UNTIL I REALIZED YOU’VE GOT TO START IN THE CENTER AND WORK OUT. THE NICE THING ABOUT THE GALT HOSPITAL—BECAUSE I DID THE FAÇADE OF THE HOSPITAL [IN THIS PIECE]—IS THAT IT IS SO BEAUTIFULLY SYMMETRICAL, IT MADE IT EASIER. I HAD…THE VARIEGATED THREAD, AND THE MATERIAL TO STITCH ON. THEN IT WAS A MATTER OF ACTUALLY CREATING IT. THE PATTERN HAD A LOT OF ERASING DONE ON IT, AS I CHANGED THINGS. I’M VERY PROUD OF THE WINDOWS…MY GOODNESS, THAT BUILDING HAS A LOT OF WINDOWS! IT WAS FUN, AND THIS WAS THE FIRST ONE [I MADE]. SINCE THEN I HAVE DONE GALBRAITH SCHOOL, THE BOWMAN, AND THE POST OFFICE. THE GALBRAITH SCHOOL IS HANGING AT GALBRAITH SCHOOL, THE BOWMAN IS IN MY HOUSE, AND THE POST OFFICE WAS RAFFLED OFF TO HELP RAISE MONEY FOR CHINATOWN.” “I REMEMBER, AS A KID, I WAS NOT SUPPOSED TO, BUT I WENT THROUGH ONE OF MY MOM’S JEWELRY BOXES. IN THERE WAS THE WORK SHE HAD DONE AS A KID. SHE HAD BEEN PRACTICING HER STITCHES. THAT STUCK WITH ME, AND I REMEMBER HER TALKING ABOUT HOW SHE HAD BEEN TAUGHT FROM HER MOM. MY GRANDMOTHER KEPT CROSS-STITCHING EMBROIDERY UNTIL HER ARTHRITIS GOT TOO BAD. WHEN I DO IT, I REALLY DO FEEL I AM PART OF THAT CHAIN, BECAUSE I DO HAVE EMBROIDERY THAT BOTH MY MOM AND MY GRANDMOTHER HAVE DONE. IT IS INTERESTING BECAUSE, FROM THE MENNONITE TRADITION ESPECIALLY, A LOT OF THE STITCHES I HAVE COME FROM THAT TRADITION, SO IT’S VERY MUCH A PART OF THAT. I WOULD LIKE TO SIT DOWN, ONE DAY WHEN I GET TIME, WITH MY MOM’S COUSIN, WHO DOES WHAT’S CALLED 3-D EMBROIDERING. IN MY FAMILY, PEOPLE ACTUALLY HAVE THE ORDERED EVERY DAY TEA TOWELS, THEY HAVE THE BED TOWELS. IT’S SUCH A PART OF THE SOUTHERN ART, SO MY [WORKS ARE] A LITTLE MORE MODERN INTERPRETATION OF SOME OF THAT. MY GREAT-GRANDMOTHER WOULD HAVE SAT IN RUSSIA, DOING THE SAME STITCHES.” “I DON’T KNOW [HOW MANY PEOPLE IN THE REGION ARE DOING BLACKWORK EMBROIDERY]. I TAUGHT THE CLASS IN … EMBROIDERY, BUT I DON’T THINK A LOT OF PEOPLE ARE PICKING UP BLACKWORK. IT’S INTERESTING, WHEN I MENTION THIS, TALKING TO SOME PEOPLE ONLINE, ONE OF MY FRIENDS WHO HAS A HISTORIC HOUSE IS LIKE, “COULD I PAY YOU TO DESIGN MY HOUSE?” [BLACKWORK EMBROIDERY] IS A FUN WAY FOR ME TO TAKE THOSE TWO IDEAS I LOVE-–OF STITCHING, AND HISTORIC BUILDINGS-–BECAUSE PHOTOGRAPHY, WITH WHAT PEOPLE HAVE TODAY, IS RELATIVELY EASY. YOU CAN TAKE POINT-AND-SHOOT. SOME PEOPLE ARE MUCH BETTER AT IT--THEY’RE ARTISTIC-–BUT THIS IS A WAY OF CAPTURING A BUILDING. YOU HAVE TO, VERY PERSONALLY, SIT THERE, AND BECAUSE YOU HAVE TO MEASURE EVERYTHING OUT, EVEN TO DESIGN IT, YOUR APPRECIATION OF THE ARCHITECTURE IS VERY DIFFERENT THAN A POINT-AND-SHOOT CAMERA.” “I’VE DONE FIVE BUILDINGS NOW, AND I HAVE SEEN EACH ONE IN A VERY DIFFERENT WAY. I REMEMBER THINKING, WITH THE POST OFFICE, WHEN YOU ACTUALLY LOOK AT THE HEIGHT OF THE CLOCK TOWER COMPARED TO THE BASE OF THE BUILDING, [YOU SEE THE] PHENOMENAL ARCHITECTURE, [BUT] IT’S ONLY WHEN YOU ARE STITCHING IT THAT YOU REALIZE THAT THE BASE OF THAT BUILDING ISN’T STRAIGHT. THE BUILDING GOES WITH THE SLANT OF THE SIDEWALK, AND I HAD TO TAKE AN ARTISTIC EYE, AND MAKE THE BOTTOM OF THE BUILDING STRAIGHT FROM THE FRONT. THE OTHER THING, WITH THE POST OFFICE, THERE’S ALMOST NO HISTORIC [PHOTOGRAPHS] OF IT STRAIGHT-ON; IT’S ALWAYS ON THE CORNER, BECAUSE THAT’S EASIER. I CAN’T CROSS-STITCH MY BUILDING ON THE CORNER, SO I HAD TO ACTUALLY TAKE MY OWN PHOTOGRAPHS, INSTEAD OF HISTORICAL PHOTOGRAPHS. THIS HAS REALLY GIVEN ME A NEW APPRECIATION OF THE BUILDINGS, BECAUSE I HAD TO LOOK AT THEM SO CAREFULLY. WITH THE BOWMAN—WITH ALL THESE BUILDINGS--YOU HAD TO THINK WHAT TIME PERIOD YOU WANTED TO DISPLAY. SO THE ONE OF THE BOWMAN, I HAVE THE UNION JACK FLYING [IN] THE PICTURE, BECAUSE I WANTED [TO CAPTURE] IT BACK WHEN IT WAS ORIGINALLY CREATED.” “IT’S AN ADDICTION. YOU SIT IN FRONT OF THE TELEVISION, AND SOMETIMES A WEEKEND PASSES AND YOU HAVEN’T DONE MUCH. WHEN YOU’RE WORKING ON A PROJECT, FOR MYSELF, IT’S LIKE, “I’M GOING TO GET IT DONE.” THEN YOU TAKE A BREAK BEFORE YOU PICK UP THE NEXT PROJECT, SO YOU CAN DO ALL THE OTHER STUFF. TRYING TO PUT [AN ESTIMATE OF TIME SPENT CREATING] IT, I WOULDN’T HAVE A CLUE.” “I THINK EVERYBODY [HAS] MULTI-FACETS IN THEIR BRAINS, AND I USE DIFFERENT PARTS OF IT. IT’S ALWAYS FUN TO CHALLENGE, TO TRY NEW THINGS. ONE OF THE THINGS I’D LIKE TO DO…I’VE SEEN PEOPLE WHO ARE CROSS-STITCHING ON METAL [PUTTING HOLES IN]. IN THE SPRING, I WILL BE DOING A CROSS-STITCH PATTERN ON ‘PAGE WIRE’, THAT [ATTACHES] TO A FENCE, SO IT WILL BE OUTDOOR CROSS-STITCH. I LOVE WORKING WITH MY SILKS, AND MY REALLY DELICATE STUFF, BUT THE BEAUTIFUL THING ABOUT EMBROIDERY IS YOU CAN TAKE IT DIFFERENT WAYS. WHY SHOULD KNITTERS HAVE ALL THE FUN WHEN THEY GO ‘YARN-BOMBING’? WE CAN DO ‘CROSS-STITCH BOMBING’, TOO. IT’S ONE OF THOSE THINGS WHERE YOU CAN TAKE A VERY OLD FORM, AND MAKE IT VERY MODERN.” “IT WAS A HARD DECISION [TO DONATE IT]. I HAVE THE PATTERN. I CAN ALWAYS RECREATE IT. IT WOULD NEVER BE THE SAME. I DON’T CARE IF YOU RECREATE SOMETHING, IT’S NEVER THE SAME THING. BUT I HAD TO LET THE LOGICAL PART OF MY BRAIN HANDLE THIS DECISION, BECAUSE IT DID HANG IN THE CLASSROOM AND YOU POINTED TO THIS THING A LOT WHEN WE DISCUSSED THE BUILDING. FOR A LOT OF STUDENTS THIS WAS THE PICTURE OF THE BUILDING THAT THEY REMEMBER SEEING, SO THE CONNECTION TO MY JOB JUST MADE IT SUCH A STRONG [POINT]. THE OTHER THING IS, AS AN ARTIST…I GET TO SAY I’M AN ART-PIECE IN A MUSEUM. THAT’S QUITE THE HONOR. IT WASN’T CHOSEN AS AN ART-PIECE, BUT STILL I CAN MAKE THAT WORK. [I SPENT] PROBABLY A WEEK TALKING TO FAMILY MEMBERS AS WELL, BECAUSE I HAVE A LOT OF CROSS-STITCH IN MY HOUSE, FROM PATTERNS AND DIFFERENT THINGS. I REMIND THEM I’M NOT GOING TO DIE SOON, BUT SOME OF MY NIECES HAVE TOLD ME WHICH ONES THEY WANT WHEN I’M DEAD. SO I ALSO NEEDED TO TALK TO FAMILY, AND MAKE SURE THAT NOBODY WAS GOING TO BE CRINGING TO FIND IT WAS GONE. IT IS INTERESTING HOW THINGS THAT YOU CREATE [HAVE] A SENSE OF OWNERSHIP FOR OTHER PEOPLE TOO, SO I HAD TO DOUBLE CHECK WITH OTHER PEOPLE TOO.” “IT WAS JULY OR AUGUST OF 2000, WHEN I WAS INTERVIEWED BY WILMA WOODS, AND I WAS BETWEEN TEACHING [JOBS]…AND GETTING CLOSE TO THE START OF SCHOOL. I DIDN’T REALLY WANT TO SUB, AND IT WAS A TEMPORARY SIX MONTH POSITION. I APPLIED, AND WILMA INTERVIEWED ME ON THE MAIN FLOOR, IN THE HALF OF WHAT’S NOW THE FRIEND’S BOARDROOM. THAT IS WHERE HER OFFICE WAS, AND WHERE SHE DID THE INTERVIEW. I PREPPED. I WENT TO B. MACCABEE’S BOOKSTORE AND BOUGHT THE CENTENNIAL HISTORY OF LETHBRIDGE, AND READ THE ENTIRE BOOK…BEFORE THE INTERVIEW. I WASN’T REALLY THINK ABOUT WHETHER I’D GET THE JOB, SO I GAVE REFERENCES TO HER AND REALIZED I HADN’T ACTUALLY LET THE REFERENCES KNOW. I CALLED THEM AFTER I GOT HOME, WHICH WAS GOOD, BECAUSE I GUESS SHE CALLED FIVE MINUTES AFTERWARDS BECAUSE SHE WAS PRETTY QUICK. I STARTED [AT THE GALT MUSEUM] SEPTEMBER 1, 2000, WITH THE EXHIBIT ON THE IRRIGATION DISTRICT AND ITS CENTENNIAL. IT WAS A SIX MONTH GRANT POSITION. I WAS SUPPOSED TO BE A TEMPORARY POSITION, BECAUSE AT THAT POINT THE E. TEAM HAD GEARED DOWN ON STAFF AT THE MUSEUM. SO I STARTED THERE, AND…JANUARY AND FEBRUARY OF THE YEAR, THEY WENT TO CITY COUNCIL AND ASKED FOR IT TO BE MADE A FULL-TIME PERMANENT POSITION. IT HAD TO BE POSTED, BUT I APPLIED AND GOT THE FULL-TIME PERMANENT POSITION IN MARCH 2001. I MADE THE DECISION, BUT WITHOUT REALLY THINKING ABOUT IT, THAT TEMPORARY POSITION TURNED INTO A SEVENTEEN YEAR JOB.” “[OF THE WORKS I’VE DONE] IT’S DEFINITELY ONE OF THE BIG ONES. THERE [WERE] A FEW OTHER THINGS I TOOK OUT OF MY OFFICE THAT HAVE BEEN WITH ME FROM THE BEGINNING…THE REASON I STITCHED THIS BUILDING WAS MY CONNECTION TO THE BUILDING. IT’S NOT ONLY A PHENOMENAL BUILDING, BUT THIS WAS ‘HOME’ FOR 17 YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170033001-GA.
Catalogue Number
P20170033001
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
SELF-CONTAINED BREATHING APPARATUS TRAINING BACKPACK
Date Range From
1995
Date Range To
2005
Material Type
Artifact
Materials
CANVAS, NYLON, METAL
Catalogue Number
P20150010018
  2 images  
Material Type
Artifact
Other Name
SELF-CONTAINED BREATHING APPARATUS TRAINING BACKPACK
Date Range From
1995
Date Range To
2005
Materials
CANVAS, NYLON, METAL
No. Pieces
1
Height
58.2
Length
35.0
Width
133.2
Description
SELF-CONTAINED BREATHING APPARATUS TRAINING BACKPACK. STEEL AIR TANK, PAINTED MEDIUM GREY, WITH DARK YELLOW CANVAS SHOULDER STRAPS, AND GREEN NYLON WAIST STRAP. MEDIUM GREY STEEL AIR BOTTLE, HELD TO THE HARNESS ASSEMBLY BY A SILVER COLOURED METAL BRACKET. THIS BRACKET HAS A LARGE YELLOW WITH GREEN WRITING STICKER: "MSA AIRMASK MODEL 401". HARNESS ASSEMBLY IS ALSO MEDIUM GREY METAL AND IS ROUGHLY RECTANGULAR IN SHAPE. AT THE TOP OF THE RECTANGLE IS A CIRCLE, WHICH IS WHERE THE YELLOW SHOULDER STRAPS ARE AFFIXED WITH BLACK AND SILVER COLOURED RIVETS TO THE HARNESS ASSEMBLY. YELLOW STRAPS ARE PADDED AND EACH STRAP HAS A SQUARE OF THE LOOP SIDE OF VELCRO AT THE BOTTOMS. THE YELLOW STRAPS ATTACH TO THE RIGID WAIST SUPPORT WITH BLACK NYLON STRAPS. THE ENDS OF THE BLACK STRAPS HAVE A RECTANGULAR PIECE OF THE HOOK SIDE OF VELCRO AND THE VERY ENDS ARE FINISHED WITH A SEMI-CIRCULAR PIECE OF SILVER METAL. THE RIGID WAIST SUPPORT IS PADDED WITH BLACK FABRIC. THE GREEN WAIST STRAPS ARE AFFIXED TO THE RIGID METAL SUPPORT WITH TWO BLACK RIVETS EACH. THE WAIST STRAP CLOSES WITH A SEAT BELT STYLE BUCKLE. THE BUCKLE IS ON THE WEARER'S RIGHT SIDE AND IS STAMPED ON THE REVERSE WITH: "UIO BUCKLE WEAR BELT SNUG. REPLACE IF DAMAGED OR FRAYED." BOTTOM OF AIR BOTTLE IS STAMPED WITH "DOT-3A A2015. D136587 MSA". THE STAMP CONTINUES UNDER THE HARNESS, BUT IS NOT READABLE. PRESSURE GAUGE AND REGULATOR ALSO ON THIS END OF THE BOTTLE. OVERALL IN GOOD CONDITION. BOTTLE APPEARS TO HAVE BEEN YELLOW AND THEN PAINTED GREY. GREY PAINT HAS SCRATCHED OFF ALL OVER THE AIR BOTTLE, REVEALING THE YELLOW SURFACE BELOW. ALL FABRIC STRAPS ARE IN GOOD CONDITION, WITH NO VISIBLE TEARS OR RIPS. YELLOW STRAPS ARE DISCOLOURED.
Subjects
MINING & MINERAL HARVESTING T&E
Historical Association
SAFETY SERVICES
History
THIS SELF-CONTAINED BREATHING APPARATUS TRAINING BACKPACK WAS USED BY THE LETHBRIDGE FIRE DEPARTMENT. IN A WRITTEN STATEMENT PROVIDED AT THE TIME OF DONATION, JESSE KURTZ, DEPUTY CHIEF – SUPPORT SERVICES (RETIRED), EXPLAINED THAT THE “THIS IS JUST A HARNESS FOR TRAINING PURPOSES WITH A STEEL AIR CYLINDER. IT SIMULATES THE ACTUAL WEIGHT AND FEEL OF A REAL SETUP. [IT WAS] ‘HOME BUILT’ FOR TRAINING PURPOSES.” IN THE SUMMER OF 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS WITH CURRENT AND FORMER MEMBERS OF THE FIRE DEPARTMENT, INCLUDING TREVOR LAZENBY (HIRED IN 1994). HE RECALLED: “I DON’T THINK I EVER WORN ONE OF THESE AT AN ACTUAL FIRE. I THINK I’VE ONLY EVER WORN THE NEXT GENERATION FIBERGLASS-WRAP … WE HAD THE FIBERGLASS ONES IN FRONTLINE SERVICE WHEN I STARTED, SO THIS WOULD BE PRE-1994, IF I’M NOT MISTAKEN. I DON’T THINK WE HAD THESE ON THE TRUCKS IN ’94. THEY WERE AROUND AND THEY WERE BACKUPS, BUT THEY WEREN’T FRONTLINE … WE KEPT ONE OR TWO AT THE NORTHSIDE FIRE HALL AND AT THE WESTSIDE FIRE HALL BECAUSE WHEN GUYS AT LUNCHTIME HAVE A WORKOUT, OR AFTER WORK, THEY’LL HAVE A WORKOUT AND THEY’LL ACTUALLY PUT THE OLD HEAVY STEEL BOTTLE ON AND THEY’LL CLIMB THE STAIRS – SO IT’S USED TO WORK OUT AND NOTHING ELSE. VERY, VERY UNCOMFORTABLE. VERY HEAVY DESIGN.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND ADDITIONAL INFORMATION ABOUT THE LETHBRIDGE FIRE DEPARTMENT.
Catalogue Number
P20150010018
Acquisition Date
2015-02
Collection
Museum
Images
Less detail
Other Name
SELF-CONTAINED BREATHING APPARATUS / AIR MASK AND HARNESS
Date Range From
1975
Date Range To
2000
Material Type
Artifact
Materials
PLASTIC, METAL, COTTON
Catalogue Number
P20150010017
  2 images  
Material Type
Artifact
Other Name
SELF-CONTAINED BREATHING APPARATUS / AIR MASK AND HARNESS
Date Range From
1975
Date Range To
2000
Materials
PLASTIC, METAL, COTTON
No. Pieces
5
Height
29.2
Length
68.8
Width
50.7
Description
SELF-CONTAINED BREATHING APPARATUS, INCLUDES CASE, HARNESS ASSEMBLY, MASK WITH STRAP, AND PAPER PASS CERTIFICATE. .A: CASE. BLACK MOULDED, TEXTURED PLASTIC CASE. ROUGHLY RECTANGULAR SHAPED. HINGED AT THE BACK, CASE HAS THREE HANDLES ON THE FRONT: ONE IS IN THE CENTRE OF THE CASE, WITH THE OTHER TWO ARE ON THE CORNERS OF THE BOX. THERE ARE TWO PLASTIC LATCHES BETWEEN THE THREE HANDLES. BLACK AND SILVER COLOURED STICKER ON THE TOP OF THE BOX READS: "MSA AIRMASK". A SECOND BLACK AND SILVER STICKER, ABOVE ONE OF THE LATCHES, READS: "ULTRALITE PRESSURE DEMAND" AND ALSO HAS "PASS IN BOX" HANDWRITTEN IN BLACKMARKER. A THIRD BLACK AND SILVER STICKER THAT READS "MSA AIRMASK" IS ON THE BOTTOM OF THE BOX. YELLOW PIECE OF DUCT TAPE ON RIGHT SIDE, HANDWRITTEN IN BLACK INK: "ULTRALITE BMR". INSIDE THE BOX IS SUBDIVIDED INTO COMPARTMENTS. AFFIXED TO THE INSIDE TOP OF THE LID IS A PAGE OF INSTRUCTIONS TITLED "MSA AIR MASK, PRESSURE DEMAND TYPE". A SMALL PIECE OF PAPER AFIXED TO THE INSIDE OF THE LID IS TITLED "PACKING ARRANGEMENT" AND HAS AN ILLUSTRATION OF HOW THE UNIT SHOULD BE PACKED AWAY. DIMENSIONS PROVIDED ABOVE CORRESPOND TO THIS CASE. OVERALL IN FAIR TO GOOD CONDITION. THE TWO "MSA AIRMASK" STICKERS HAVE PARTIALLY PEELED AWAY, WITH THE TOP STICKER MISSING THE BOTTOM OF "ASK" IN "MASK" AND WITH THE BOTTOM STICKER MISSING PARTS OF THE "MSA": THE "M" AND "A" ARE PARTIALLY MISSING, WHILE THE "S" IS ENTIRELY GONE; "MASK" OF THIS STICKER IS ALSO VERY DAMAGED. LATCH BELOW THE "ULTRALITE" STICKER IS IN GOOD CONDITION, WHILE THE OTHER IS PARTIALLY BROKEN. SEVERAL SCUFFS AND SCRATCHES IN THE PLASTIC, ESPECIALLY ALONG THE BOTTOM. .B: HARNESS ASSEMBLY. BLACK PLASTIC, METAL, AND FABRIC WITH SILVER COLOURED METAL. OUTER PORTION OF HARNESS DESIGNED TO HOLD BOTTLE OF COMPRESSED AIR. BLACK METAL BRACKET RUNS VERTICALLY UP AND DOWN THE HARNESS AND HAS A SILVER COLOURED CIRCULAR METAL BAND TO HOLD TANK IN PLACE. THE SILVER BAND IS 7.7CM WIDE AND HAS TWO BLACK STICKERS WITH “MSA” IN YELLOW STUCK ON. BOTTOM OF BLACK METAL BRACKET HAS A TRIANGULAR SHAPED PIECE, WITH A ROUND RUBBER TIP, TO HOLD THE BOTTOM OF THE AIR TANK IN PLACE. BELOW SILVER BAND IS A STICKER, WITH A DISCOLOURED WHITE BACKGROUND AND BLACK LETTERS GIVING INSTRUCTIONS FOR USE, ENTITLED: “CUSTOM 4500/ULTRALITE BELT MOUNTED SCBA. OPEN CIRCUIT, PRESSURE-DEMAND ENTRY AND ESCAPE SELF-CONTAINED BREATHING APPARATUS OR COMBINATION SELF-CONTAINED BREATHING APPARATUS AND TYPE C SUPPLIED AIR RESPIRATOR.” SILVER BAND FOR TANK HAS A HANDLE THAT EXPANDS AND CONTRACTS THE BAND, TO ALLOW FOR REMOVAL AND INSTALLATION OF AIR TANK. AT THE TOP OF THE BLACK METAL BRACKET, THERE IS A CIRCULAR SECTION WHICH ALLOWS FOR THE ATTACHMENT OF TWO BLACK PADDED FABRIC SHOULDER STRAPS. THESE STRAPS ARE BOLTED ON WITH BLACK AND SILVER COLOURED BOLTS. BLACK METAL BRACKET ATTACHES AT WAIST AREA TO BLACK MOULDED PIECE OF PLASTIC. BLACK MOULDED PLASTIC FITS AROUND THE HIP AREA OF THE WEARER. SHOULDER STRAPS COME DOWN FROM TOP OF METAL BRACKET AND ATTACH TO THIS BLACK PLASTIC JUST ABOVE THE HIP. SHOULDER STRAPS ARE PADDED AND HAVE A SECOND SMALLER STRAP, WHICH WOULD CROSS THE WEARER’S CHEST WITH A BLACK SIDE RELEASE PLASTIC BUCKLE, WITH THE FEMALE COMPONENT ON THE RIGHT STRAP. ON EACH STRAP BELOW THE PLASTIC BUCKLE IS A SILVER COLOURED “D” RING. ABOVE THE BUCKLE ON EACH STRAP IS A SILVER COLOURED SILK SCREEN SECTION WITH “MSA”. AT THE BOTTOM WAIST PORTION OF THE MOULDED PLASTIC IS ANOTHER BLACK FABRIC STRAP, TO GO AROUND THE WEARER’S WAIST. THE BELT ATTACHES WITH A SILVER COLOURED METAL LATCH PLATE ON THE RIGHT SIDE, WHICH FITS INTO A BLACK PLASTIC BUCKLE, WITH A BLACK PLASTIC BUTTON TO RELASE, ON THE WEARER’S LEFT SIDE. ATTACHED TO THE LEFT SIDE OF THE BELT IS A PRESSURE REGULATOR AND HIGH PRESSURE SUPPLY HOSE. THE PRESSURE REGULATOR CONSISTS OF BLACK METAL AND PLASTIC, AND GOLD AND RED COLOURED METAL. A CIRCULAR GOLD COLOURED METAL PIECE HAS REMNANTS OF TWO STICKERS ON ITS FACE: “MSA AIR MASK – MFD BY MINE SAFETY APPLIANCES COMPANY – PITTSBURGH, PENNSYLVANIA – PRESSURE DEMAND.” BELOW IT IS A HOSE COUPLING. THIS COUPLING HAS A BLACK RUBBER CAP, EMBOSSED WITH “FHR”. BESIDE THIS IS AN AIR PRESSURE GAUGE: BLACK METAL TEXTURED EDGE, GLASS FACE, AND RUBBER ENCASING. THE FACE OF THE GAUGE IS OFF-WHITE WITH A DIAL INCREASING IN INCREMENTS OF 5 (5, 10, 15, 20, 25, 30), WITH A RED SECTION FROM 0-5, A YELLOW SECTION BETWEEN 20 AND 25, AND A GREY SECTION AT 30. BELOW THE DIAL IS “PSI X 100 – USE NO OIL – MSA 18” BESIDE THE GAUGE IS A RED COLOURED METAL KNOB, WITH “ß OPEN – BY PASS” EMBOSSED ON FRONT FACE. BESIDE THIS RED KNOB IS A GOLD COLOURED KNOB WITH A SILVER COLOURED TAB “^PUSH^”. ON THE FACE OF THE GOLD KNOB, EMBOSSED, IS “MAIN LINE ^” WITH “MSA” IN CENTRE. OPPOSITIE THE PRESSURE GAUGE IS A HIGH PRESSURE SUPPLY HOSE. THE HOSE IS BLACK PLASTIC AND FABRIC. ON THE END OF THIS HOSE IS A SILVER COLOURED BELL, USED AS A LOW AIR ALARM. AT THE VERY END OF THE HOSE IS A BLACK TEXTURED METAL COUPLING. .C: MASK WITH HOSE. BLACK PLASTIC RESPIRATOR MASK WITH CLEAR PLASTIC VISOR. FITTED NOSE PIECE WITH TWO SMALL CIRCLES ON EITHER SIDE OF BRIDGE OF NOSE PIECE. EACH CIRCLE HAS BLACK PLASTIC SPOKES AND A TRANSPARENT FLAP, WHICH IS ON THE INSIDE OF THE NOSE PIECE. HANDWRITTEN IN GOLD COLOURED INK, ON THE INSIDE OF NOSE PIECE, “G29C” OR “929C”. FRONT OF NOSE PIECE, VISIBLE THROUGH THE VISOR, HAS “MEDIUM” EMBOSSED ONTO MASK. FIVE BLACK PLASTIC STRAPS WITH SILVER COLOURED BUCKLES ALLOW MASK TO BE SECURELY TIGHTENED ONTO THE HEAD. STRAPS MEET AT A ROUGHLY STAR-SHAPED PIECE THAT SITS AT THE BACK OF THE HEAD. THIS STAR-SHAPED PIECE HAS THE FOLLOWING EMBOSSED ONTO THE PLASTIC: “M2 C5 – MSA – PULL FRONT STRAP LAST – U”. ABOVE THE “M2 C5” IS AN EMBOSSED MULTI-SPOKED CIRCLE. EMBOSSED IN THE CENTRE OF THE CIRCLE: “93 – 94 – 95” EACH OF THE FIVE STRAPS ARE LABELLED; TWO AT THE BASE OF MASK, EACH LABELLED “NECK”, NEXT TWO UP ARE “SIDE”, AND THE FIFTH STRAP AT THE TOP OF THE MASK IS “FRONT”. ON FRONT OF MASK, AT THE MOUTH AREA, IS A LONG ACCORDION-STYLE HOSE. IT IS ATTACHED TO THE MASK WITH A SILVER COLOURED METAL CLAMP. ON THE NUT OF THIS CLAMP IS WRITTEN “ALL STAINLESS BREEZE”. BELOW IS A BLACK METAL BAND, WHICH IS STAMPED IN YELLOW WITH “-18 TINNERMAN”. BELOW THAT THERE IS A SILVER COLOURED METAL RING, WHICH HAS A BLACK FABRIC STRAP ATTACHED (SEE BELOW FOR DESCRIPTION OF THIS ITEM, P20150010017D). THE BOTTOM OF THE HOSE HAS A BLACK METAL BAND AND THEN A SILVER COLOURED, TEXTURED METAL PIECE TO CONNECT TO THE AIR SUPPLY CANISTER. BELOW THE HOSE CONNECTION, AT THE CHIN AREA OF THE MASK, IS A MEDIUM-LIGHT GREY CIRCLE, EMBOSSED WITH “MSA – U.S. PAT. 4,007,758”. TO THE RIGHT OF THE HOSE ATTACHEMENT HANDWRITTEN IN GREEN INK IS “#4”. ON THE RIGHT SIDE OF THE MASK, BETWEEN THE “NECK” AND “SIDE” STRAPS IS A FAINT STAMP IN YELLOW “7-212-“. EMBOSSED IN CENTRE OF MASK, ABOVE FACE VISOR, IS “MSA” IN A CIRCLE. INSIDE OF THE HOSE ATTACHMENT, BELOW THE MOULDED NOSE AREA, IS A BLACK DISK WITH HOLES IN IT. VISIBLE THROUGH THESE HOLES IS A PIECE OF GOLD-COLOURED METAL. DIMENSIONS OF MASK: HOSE IS 83.5CM LONG; VISOR IS 18CM WIDE. .D: STRAP ON MASK. BLACK FABRIC STRAP, WITH TWO BLACK SNAPS. SNAPS ONTO SILVER-COLOURED METAL RING AROUND THE HOSE. STRAP IS 92.5CM LONG AND 1.9CM WIDE. OVERALL CONDITION OF B, C, D: WELL WORN. ALL STICKERS SHOW SIGNS OF WEAR: DISCOLOURATION AND FINISH OF STICKERS SCRATCHED. STRUCTRUALLY IN GOOD CONDITION. MANY SCUFFS AND SCRATCHES ALL OVER. ALL FABRIC IN GOOD CONDITION. RUBBER RETAINS FLEXIBILITY AND PLASTICS ARE IN GOOD SHAPE WITH NO CRACKS. .E: PAPER PASS CERTIFICATE. GOLDENROD COLOURED PAPER. READS: "MSA - ULTRALITE DP - B.M.R. C/W FACEMASK. THIS UNIT TESTED AND HAD ACCEPTABLE PERFORMANCE ON SEPTEMBER 02, 2008. KEN HOBIAK" (WITH KEN'S SIGNATURE ABOVE HIS TYPED NAME). REVERSE OF PAPER: "THIS UNI PERFORM KEN H" (APPEARS TO HAVE MISPRINTED ON THIS SIDE). PAPER IS STANDARD LETTER SIZE. CONDITION IS GOOD: PAPER HAS BEEN CRUMBLED AND HAS A FEW SMALL TEARS AROUND THE OUTSIDE.
Subjects
MINING & MINERAL HARVESTING T&E
Historical Association
SAFETY SERVICES
History
THIS SELF-CONTAINED BREATHING APPARATUS (SCBA) WAS USED BY THE LETHBRIDGE FIRE DEPARTMENT. IN A WRITTEN STATEMENT PROVIDED AT THE TIME OF DONATION, JESSE KURTZ, DEPUTY CHIEF – SUPPORT SERVICES (RETIRED), EXPLAINED THAT THE MASK WAS “USED BY ALL FIREFIGHTERS TO CONNECT TO THE BELT MOUNTED REGULATOR SCBA TO ENTER HAZARDOUS ATMOSPHERES” AND THAT THE HARNESS WAS “USED BY ALL FIREFIGHTERS TO BREATH IN HAZARDOUS (SMOKY) ATMOSPHERES.” HE CONTINUED SAYING THAT THERE ARE “MORE MODERN MASK MOUNTED REGULATOR SCBAS [THAT HAVE BEEN] DEVELOPED AND PURCHASED.” IN THE SUMMER OF 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN, CONDUCTED A SERIES OF INTERVIEWS WITH CURRENT AND FORMER MEMBERS OF THE FIRE DEPARTMENT, INCLUDING: CLIFF “CHARLIE” BROWN (HIRED IN 1966, RETIRED 2004), TREVOR LAZENBY (HIRED IN 1994), AND LAWRENCE DZUREN (HIRED 1959, RETIRED 1992). BROWN EXPLAINED THAT THIS SCBA “WAS AN ON-DEMAND REGULATOR. THAT WAS NICE TO HAVE DEMAND, BECAUSE NO MATTER WHO IT WAS, THE HARDER YOU BREATHED, THE MORE AIR IT WOULD GIVE YOU. THE HARNESS IS PROBABLY MORE COMFORTABLE [THAN PREVIOUS ONES]. SOME GUYS WOULD USE THREE TANKS, SO THE HARNESS WAS A LITTLE BIT MORE COMFORTABLE FOR THEM. THEY’D COME OUT, THEY’D TURN AROUND, THEY WOULDN’T EVEN TAKE OFF THEIR GEAR. THEY’D TURN AROUND, THERE’D BE GUYS WHO WOULD TAKE THE TANK OFF, PUT ANOTHER TANK ON, HOOK IT ALL UP, A GOOD PAT ON THE BACK, AND BACK IN THEY’D GO WITH ANOTHER TANK. THEY’D DO THAT THREE TIMES BEFORE … THEY WERE JUST TOO TIRED … WE DIDN’T HAVE AN AIR COMPRESSOR TO FILL OUR OWN TANKS. I CAN’T REMEMBER WHERE THEY WENT. THEY MUST HAVE WENT TO THE SWIMMING POOL.” LAZENBY CONTINUED SAYING THAT THIS SCBA WAS “A VERY, VERY OLDER GENERATION SCBA BOTTLE. THESE WERE KIND OF RUDIMENTARY DESIGN. THE BOTTLE WAS STEEL ON THESE, WHICH MADE THEM VERY, VERY HEAVY. MODERN BOTTLES ARE FIBERGLASS WRAPPED WHICH MAKES THEM MUCH, MUCH LIGHTER; ADDED TO WHICH, IT HAD A BARELY PADDED HARNESS SYSTEM ON IT AND BASICALLY A GLORIFIED SEATBELT STRAP FOR A WAIST STRAP. SO WITH THESE KINDS OF THINGS, YOU DON’T WANT TO KEEP A TON OF WEIGHT ON YOUR SHOULDERS BECAUSE IT FATIGUES YOUR UPPER BODY VERY, VERY QUICKLY WHEN YOU’RE WORKING. BUT WITH THIS TYPE OF HARNESS ON THEM, IF YOU CINCHED THE WAIST UP REALLY TIGHT AND TOOK THE PRESSURE OFF YOUR SHOULDERS, THIS JUST SEEMED TO DIG INTO YOUR WAIST LIKE CRAZY, LIKE IT WAS VERY UNCOMFORTABLE TO WEAR … THAT BEING SAID, WHEN GUYS WENT TO THIS FROM LIKE THE CANISTERS THAT THEY USED TO WEAR, THIS MUST HAVE BEEN LIKE A NEW LEASE ON LIFE FOR THESE GUYS … I WORE THESE IN TRAINING – I DON’T THINK I EVER WORE ONE OF THESE BOTTLES ON AN ACTUAL FIRE CALL … WE HAD THE FIBERGLASS ONES IN FRONTLINE SERVICE WHEN I STARTED SO THIS WOULD BE PRE-1994, IF I’M NOT MISTAKEN. I DON’T THINK WE HAD THESE ON THE TRUCKS IN ’94. THEY WERE AROUND AND THEY WERE BACKUPS, BUT THEY WEREN’T FRONTLINE.” HE ELABORATED FURTHER, SAYING: “WE DIDN’T HAVE INDIVIDUAL MASKS; WE SHARED MASKS ON THE FIRE DEPARTMENT BACK THEN … THERE WASN’T ENOUGH MONEY FOR THEM TO BUY US OUR OWN INDIVIDUAL FACE PIECE … SO WHAT WE USED TO DO IS AFTER EVERY INCIDENT OR AFTER EVERY TIME YOU WORE ONE OF THESE THINGS, IT WOULD COME OFF THE TRUCK, WE WOULD HAVE A BOTTLE OF MSA MASK CLEANER THAT WE WOULD PUT INTO A TUB, WE WOULD MAKE A SOAPY WATER SOLUTION, WE WOULD WASH THE MASK, RINSE THE MASK, LET IT HANG TO DRY, AND THE NEXT PERSON WOULD USE IT AS THE NEXT SHIFT CAME ON.” HE ADDED THAT NOW EVERYONE IN THE DEPARTMENT HAS THEIR OWN MASK: “WE’VE HAD OUR OWN MASKS FOR 10-12 YEARS. WE STILL SHARE THE SCBAS AS FAR AS THE BOTTLE AND THE HARNESS GOES … THEY’RE IN THE RACKS ON THE TRUCK, IN THE BACKS OF THE SEATS AND DOWN IN BY THE HOSE OR THE PUMP COMPARTMENTS.” IN DISCUSSING WHY THIS MODEL IS NO LONGER USED, LAZENBY STATED: “THIS HOSE EASILY CRIMPED SO YOUR AIR SUPPLY COULD BE CUT OFF. THE AIR SUPPLY THAT NOW GOES FROM THE TANK TO YOUR MASK IS A MUCH MORE RIGID HOSE THAT, REALLY, YOU’D HAVE TO BASICALLY BEND IT IN HALF TO STOP THE FLOW OF AIR.” DZUREN ADDED FURTHER: “PRIOR TO [THIS] OUR BREATHING APPARATUS WAS WHAT THEY CALLED A CANISTER TYPE OF BREATHING APPARATUS … IT WAS JUST A CANISTER THAT YOU HAD IN FRONT OF YOU HERE AND IT WAS LAYERS OF … GEL, AND SAND, AND SILICA … THERE WAS A SHELF-LIFE WITH THOSE THINGS. IF YOU USED THEM, YOU PRETTY WELL HAD TO DISCARD THEM AFTER YOU USED THEM.” WHEN ASKED WHEN THIS TYPE OF SCBA CAME INTO SERVICE, DZUREN STATED: “I WOULD PROBABLY SAY MAYBE IN THE ‘70S SOMETIME? … I RECALL GUYS GOING IN WHEN WE JUST HAD THOSE CANISTERS. THEY WOULD GO WITHOUT ANYTHING. AND THEY WOULD COME OUT AFTER A WHILE AND THEY WOULD BE BARFING THEIR GUYS OUT … IT SEEMED TO BE, EVEN PRIOR TO MY TIME, WHEN THE STORIES I HEARD FROM GUYS THERE LONGER THAN MYSELF, THAT SEEMED TO BE THE MACHO THING. GET IN THERE AND THEY’D GET IN THERE WITHOUT A MASK. BUT EVENTUALLY, YOU KNOW, BETTER THINKING CAME ALONG AND SAID ‘DON’T BE SILLY, GET SOME STUFF ON THERE.’ BUT ONCE THEY GOT IT, AND THEY STARTED TO USE IT, YOU DID FEEL A LOT BETTER GOING IN, ‘CAUSE PRIOR TO USE GETTING THAT WE HEARD THE HORROR STORIES OF GUYS WHO DID SUCCUMB TO THE ELEMENTS BECAUSE OF ALL THOSE CANISTER TYPES, BUT ONCE THEY GOT [THIS SCBA] IT WAS BETTER.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND ADDITIONAL INFORMATION ABOUT THE LETHBRIDGE FIRE DEPARTMENT.
Catalogue Number
P20150010017
Acquisition Date
2015-02
Collection
Museum
Images
Less detail