Loincloth Collection (#6)

Plate 405. Carrying Hand of Bricks up a Ladder, 1872-85 (collotype on paper)
3950352 Plate 405. Carrying Hand of Bricks up a Ladder, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 27.6x26.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 360. Throwing a Spear, 1872-85 (collotype on paper)
3950338 Plate 360. Throwing a Spear, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.9x31.3 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 334. Boxing; With Gloves (Shoes), 1872-85 (collotype on paper)
3950318 Plate 334. Boxing; With Gloves (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 29.4x25.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 322. Man Lifting Dumbbells, 1887 (collotype on paper)
3949810 Plate 322. Man Lifting Dumbbells, 1887 (collotype on paper) by Muybridge, Eadweard (1830-1904); Addison Gallery of American Art, Phillips Academy, Andover, MA

Standing Christ (wood)
NUL407082 Standing Christ (wood) by French School, (14th century); Abbey of Saint-Michel-de-Cuxa, France; French, out of copyright

The Crucifixion from the Isenheim Altarpiece, detail of Christs body, c. 1512-16 (oil on panel) (detail)
XIR230167 The Crucifixion from the Isenheim Altarpiece, detail of Christs body, c.1512-16 (oil on panel) (detail) by Grunewald, Matthias (Mathis Nithart Gothart) (c.1480-1528); Musee d Unterlinden

Native man of La Magdalena (Fatu Hiva, Marquesas Islands) with sling, loincloth, headband and tattoos. Handcoloured stipple engraving from Frederic Shoberls The World in Miniature

Native man of La Magdalena (Fatu Hiva, Marquesas Islands) with club, loincloth, necklace and tattoos. Handcoloured stipple engraving from Frederic Shoberls The World in Miniature

Native man of distinction from Nuku Hiva, Marquesas Islands, with club, fan, loincloth and full body tattoos. Handcoloured stipple engraving from Frederic Shoberls The World in Miniature

Tattooed warrior of Nuka Hiva, Marquesas Islands (Nukahiwa). In headdress and loincloth, full body tattoos, holding a large mace. Copied from Wilhelm Gottlieb Tilesius von Tilenau

Foulah woman, 1904 (marble, bronze & onyx) (b / w photo)
XIR189441 Foulah woman, 1904 (marble, bronze & onyx) (b/w photo) by Allouard, Henri (1844-1929); height: 57 cm; Musee d Orsay, Paris, France; French, out of copyright

Muchicongo men and many wives outside a hut, Angola. The men drink and smoke cachimbo pipes, while the women pound corn to make the local drink of oualo, brush their hair, etc

Costumes of men and women of the Nubian people of Dongola
Costumes of men and women of the Nubian people (Barabra) of Dongola (Dunqulah). Man in loincloth 1, women in veil 2, 5, woman spinning 3, man with spear 4 and warrior with spear and shield 6

Costumes of the inhabitants of Santiago, Chile. Men in ceremonial poncho and hat, and a hunter in loincloth with spear. Handcoloured copperplate engraving by Luigi Giarre from Giulio Ferrrarios

Nobles of the Nama (Namaqua) people of South Africa, man in fur cape and loincloth, woman in cape and skirt with necklace

Natives of the Ivory Coast, Africa. Men in loinclothes with hair dyed red and dressed with palm oil, and a noble in cloak

South East Coast: Cafre nation, 1820s-30s (colour litho)
810368 South East Coast: Cafre nation, 1820s-30s (colour litho) by Italian School, (19th century); Private Collection; (add.info.: Cafre is derived from the Muslim word for idolaters)

Study of a Male Nude (red chalk over black chalk on cream laid paper)
2972452 Study of a Male Nude (red chalk over black chalk on cream laid paper) by Velde, Adriaen van de (1636-72); 34x23.6 cm; The Art Institute of Chicago, IL

Coconut palms (chromolitho)
3621667 Coconut palms (chromolitho) by German School, (19th century); Private Collection; (add.info.: Coconut palms. Illustration from Tochter-Album Unterhaltungen im hauslichen Kreise zur Bildung)

Samoset Visits Pilgrims at Plymouth
Samoset, an Abenaki Sagamore, or lesser chief, who had learned English from fisherman and sailors off Maine, walked into Plymouth colony and startled the pilgrim colonists by speaking English

Sergeant in the Paraguayan War
Sergeant Gonzales, a soldier in the Paraguayan War in 1865, stands at rest dressed in a military shirt and plaid long loincloth. Date: 1865

A Sentinal in the Paraguayan War
A Paraguayan sentinel is depicted dressed in only a long loincloth and a cloth sash across his chest, and a military cap. He clasps a rifle between his arm and ribs. Several dead men surround him

The Madonna and Child, (oil on panel)
659276 The Madonna and Child, (oil on panel) by Botticelli, Sandro (1444/5-1510) (studio of); 99.1x57.2 cm; Private Collection; (add.info.: The Madonna and Child)

Plate 365. Headspring, A Flying Pigeon Interfering, 1872-85 (collotype on paper)
3950340 Plate 365. Headspring, A Flying Pigeon Interfering, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 20.6x35.9 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 322. Lifting and Letting Down Two 50-lb Dumb-Bells, 1872-85 (collotype on paper)
3950310 Plate 322. Lifting and Letting Down Two 50-lb Dumb-Bells, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17x43.7 cm; Addison Gallery of American Art, Phillips Academy

Plate 320. Lifting a 50 lb Dumb-Bell, 1872-85 (collotype on paper)
3950308 Plate 320. Lifting a 50 lb Dumb-Bell, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.2x45.1 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 317. Heaving a 70-lb Rock, 1872-85 (collotype on paper)
3950305 Plate 317. Heaving a 70-lb Rock, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 19.5x40.2 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 647. Jumping a Hurdle; Bareback; Rider, 105, Nude, 1885 (collotype on paper)
3950623 Plate 647. Jumping a Hurdle; Bareback; Rider, 105, Nude, 1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 15.1x45.1 cm; Addison Gallery of American Art, Phillips Academy

Plate 507. Carpentering, 1872-85 (collotype on paper)
3950355 Plate 507. Carpentering, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.1x30.3 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 378. Blacksmith, Hammering on Anvil, Two Hands, 1872-85 (collotype on paper)
3950348 Plate 378. Blacksmith, Hammering on Anvil, Two Hands, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 28.6x38.9 cm; Addison Gallery of American Art, Phillips Academy

Plate 374. Blacksmiths, Two Models, Hammering on Anvil, 1872-85 (collotype on paper)
3950346 Plate 374. Blacksmiths, Two Models, Hammering on Anvil, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.5x31.9 cm; Addison Gallery of American Art, Phillips Academy

Plate 373. Acrobat, Press Up From Chair, 1872-85 (collotype on paper)
3950345 Plate 373. Acrobat, Press Up From Chair, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.1x38.9 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 372. Acrobat, Horizontal Press Up, 1872-85 (collotype on paper)
3950344 Plate 372. Acrobat, Horizontal Press Up, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 21.8x34.5 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 354. Carry Arms, Parade Rest, and Trail Arms, 1872-85 (collotype on paper)
3950332 Plate 354. Carry Arms, Parade Rest, and Trail Arms, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.8x30.8 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 341. Boxing; Open Hand, 1872-85 (collotype on paper)
3950325 Plate 341. Boxing; Open Hand, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 20.3x36.2 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 336. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper)
3950320 Plate 336. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.9x32.2 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 324. Curling 50-lb. Dumb-Bell, Model, 3 / 4 length, 1872-85 (collotype on paper)
3950312 Plate 324. Curling 50-lb. Dumb-Bell, Model, 3/4 length, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 15.9x45.4 cm; Addison Gallery of American Art, Phillips Academy

Plate 323. Lifting and Letting Down Two 50-lb Dumb-Bells, 1872-85 (collotype on paper)
3950311 Plate 323. Lifting and Letting Down Two 50-lb Dumb-Bells, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.8x43.3 cm; Addison Gallery of American Art, Phillips Academy

Korah Hottentots of the Cape, c. 1820s / 30s (colour litho)
468729 Korah Hottentots of the Cape, c.1820s/30s (colour litho) by Italian School, (19th century); Private Collection; (add.info.: Illustration from Costumi dei... Vol II Pl)

Congo tribesmen and fetish figures guard the palace of the Saba or sovereign, c
468714 Congo tribesmen and fetish figures guard the palace of the Saba or sovereign, c.1820s-30s (colour litho) by Italian School

A Canadian Indian marriage ceremony, from Le Costume Ancien et Moderne
STC175879 A Canadian Indian marriage ceremony, from Le Costume Ancien et Moderne, Volume I, plate 34, by Jules Ferrario, published c.1820s-30s (colour litho) by Gallina

Saint Sebastian, c. 1603 (oil on copper)
6040454 Saint Sebastian, c.1603 (oil on copper) by Sanchez Cotan, Juan (1560-1627); 12.38x8.89 cm; San Diego Museum of Art, USA; eSan Diego Museum of Art; Museum purchase; Spanish, out of copyright

Statue of Sesostris III (1887-49 BC) as a young man (diorite)
SCP50759 Statue of Sesostris III (1887-49 BC) as a young man (diorite) by Egyptian, Middle Kingdom (2040-1640 BC); height: 119.5 cm; Louvre, Paris

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"The Loincloth: A Symbol of Cultural Identity and Resilience" Throughout history, the loincloth has been a garment that transcends time and continents, representing various cultures and their unique traditions. From ancient Aztec warriors to indigenous tribes in South America, from religious figures depicted in European art to native fishermen in Hawaii, the loincloth holds a significant place in humanity's diverse tapestry. In Barburdar or punkah wallah communities of India, where men served as fan bearers to keep their masters cool during colonial times, the loincloth was an essential part of their attire. It symbolized both humility and resilience as they endured harsh conditions while fulfilling their duties. Artistic masterpieces like Guercino's "Saint Sebastian" or Hendrick ter Brugghen's "The Crucifixion with the Virgin and Saint John" depict religious figures draped modestly in loincloths. These artworks not only showcase the artists' skill but also highlight how this simple garment can convey profound messages of sacrifice, devotion, and vulnerability. Traveling across continents brings us to Hawaii where native fishermen relied on spears and nets for sustenance. Clad only in loincloths, these brave individuals ventured into treacherous waters embodying strength and connection with nature. From South Africa's Khoisan people donning animal-skin loincloths to Yanomami tribe members navigating through dense jungles clad similarly; these garments represent cultural heritage passed down through generations, and are symbols of identity that connect individuals with their ancestors' wisdom and teachings. Even beyond tribal contexts, historical photographs capture moments such as Apache Medicine Men performing sacred rituals or Veddah men wielding bows and arrows on Ceylon Island (now Sri Lanka). In each instance, the loincloth serves as a reminder of tradition preserved amidst changing times. Java Island showcases yet another facet of this versatile garment.