A very valuable section of HBC is the family section. Available photograophic images of Norwegian families provide useful information on Norwegian boys' clothes. These images are especially helpful as they provide some idea of the type of family the boy came from and thus an indicator of which boys were wearing specific styles--valuable sociological information. Familiy photographs also provide information on what type of clothing other members of the family were wearing at any given time, including brothers of other ages, sisters, and parents. This helps to put the boys' clothing in context. One popular fashion among Dutch parents was to dress their similar in identical or coordinated styles. Many images on HBC are single person portraits without the context of what adults and girls were wearing. The family section helps to provide the context.
Here we have a CDV portrait of an unidentified Norwegian family. The portrait is undated. We would guess it was taken in the 1890s. At this time, Norway was still part of Sweden. Here the dress styles are a useful indicator. There are five children, four girls and a boy about 3-15 years of age. The girls all wear dresses made from the same plaid fabric, but in different styles. The boy wears a patterned vested suit with a short that does not seem go have a collar. The studio was Augusra Chytraeus in Kongsvinger. This is aown in southeastern Norway close to the Sedish border. Many people of Funnish origin live in the area. Kongsvinger played an important part in the Norwegian World War II resistance to the German occupation. Many people escaped the NAZIs by reaching Sweden through Kongsvinger.
This cabinet portrait shows four young children, presumbly sibling, dressed up in their best clothes. The children look to be about 1-7 years of age. The older boy wears a striped sailor suit with Norfolk styling. If the cabinet card was not identified, we might have guessed the children were German. We have no seen asuit quite like this in Britain. The top is a kiknd of cross between a blouse and tunic. It hs a complicated mix of striping and segmented ptterns. This is repeated on the scarfe. The dark dickey has a reef and crown pattern. The girls wears identical white dresseswith eyelet lace and hairbows. The other boys is a baby. The portrait is undated, but looks like the 1900s to us. The very-lte-1890s or early-1910s is possible, but the 1900s seems the most likely. The studio was Ch. Ketels, Furnes. This is a village in the Ringsaker municipality of Hedmark County located in southeastern Norway.
This is a rather nostalgic photo from Norway, taken, I think during the 1900s or possibly a bit later (figure 1). The derby hats of the men seem to be pre-1920. The boy and girl (about 11 and 13 years old respectively) both wear heavy black long stockings, undoubtedly with garters. The boy wears a double-breasted suit jacket coat and he seems to be
wearing a flat cap with a very short bill. This is clearly a family photo, taken in winter (note the bare trees in the background). The names are written on the potograph. The writing is hard to make out, but there are apparently three children, whose names are written above ans below the figures, perhaps some time after the photograph was taken. To me they look like "Pete", "Casberg" (maybe the Norwegian for Casper?), "Maiis" (pronounced Mai-is?), and "Pa Forcz" (the father, apparently). It looks like they didn't know the name of the mother. Below I thinl"Oscar" is written and another name we can't make out. This is just wild guesswork on our part.
This is a family portrait of the Haugen family, probably taken around 1915-19. Olaf Gjertson Haugen was a Norwegian carpenter. He is shown here with his wife Ĝliegaard and four of their seven children. He moved to Stongfjorden from Nordjfordeid. The family left Stongfjorden in 1922. The two oldest boys are dressed alike in tunic suits with wide leather belts, knee trousers, black long stockings, and hightop shoes. Note the white sailor-style collars which include a scarf tied in front. The smallest boy, sitting on his father's lap, seems to be wearing a tunic also (but without the white collar and scarf). The photographer was Paul Stang. Note the impressive Norwegian moutain scenery in the background.
The Turner family was a Norwegia-English family. An English chemical engineer, Maurice Russel Turner, emigrated to Norway and settled there about 1910. He married a Norwegian woman, Aslaug, by whom he had three children, Per, Sylvia, and John. A family snapshot probably taken in the 1920s. It shows shows Per who seems to be about 6, Sylvia about 4, and John 8 years. Turner became the director of an aluminium factory. This prosperous family lived in Stangfjorden. The photo was apparently taken outside their residence. Maurice remained the head of the plant until 1940 when Germany invaded neutral Norway during World War II. The Turners were able to get out safely to England. Their son John distinguished himself during the war as an
officer in the Green Howards, the Norwegian section of the Secret Service in London. He was rewarded for his services by being given the Norwegian War Cross, a very high honor.
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