Loincloth Collection (#7)

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

Man, Sri Lanka (gelatin silver print)
622779 Man, Sri Lanka (gelatin silver print) by Plate & Co. (fl.1890); 26.9x21.1 cm; Private Collection; eMichael Graham-Stewart; out of copyright

A poor Arab refuses to sell his mare to a rich buyer when he discovers the buyer is European
6337372 A poor Arab refuses to sell his mare to a rich buyer when he discovers the buyer is European by English School, (19th century); (add.info)

St. Sebastian tied to the tree, c. 1501 (Burin engraving)
5890632 St. Sebastian tied to the tree, c.1501 (Burin engraving) by DAorer or Duerer, Albrecht (1471-1528); 11.54x7.2 cm; Private Collection; Luisa Ricciarini; German, out of copyright

Crucifixion, 1511 (Burin engraving on copper)
5890599 Crucifixion, 1511 (Burin engraving on copper) by DAorer or Duerer, Albrecht (1471-1528); 11.8x7.5 cm; Private Collection; Luisa Ricciarini; German, out of copyright

Egyptian Water Carrier, (oil on canvas)
989491 Egyptian Water Carrier, (oil on canvas) by Vibert, Jean or Jehan Georges (1840-1902); 81.2x40.7 cm; Private Collection; (add.info.: Egyptian Water Carrier. Jehan Georges Vibert (1840-1902)

The Snake Charmer, 1884 (oil on canvas)
989484 The Snake Charmer, 1884 (oil on canvas) by Pavy, Eugene (1840-1905); 95.2x167.7 cm; Private Collection; (add.info.: The Snake Charmer. Eugene Pavy (19th century). Oil on canvas

The Adoration of the Magi, c. 1440-60 (tempera on poplar panel)
PHD657 The Adoration of the Magi, c. 1440-60 (tempera on poplar panel) by Angelico, Fra (c.1387-1455) & Lippi, F (c.1406-69); National Gallery of Art, Washington DC, USA; Italian, out of copyright

Emperor Montezuma II (c. 1470-1520), detail, painting by Juan Ortega, 1885 (oil on canvas)
REV346190 Emperor Montezuma II (c.1470-1520), detail, painting by Juan Ortega, 1885 (oil on canvas) by Ortega, Juan (19th century); Museo Nacional de Arte, Mexico City

A Man from Easter Island, engraved by Albuerne, 1799 (coloured engraving)
CHT215718 A Man from Easter Island, engraved by Albuerne, 1799 (coloured engraving) by Rodriguez, A. (fl.1799) (after); Private Collection; (add.info)

Ms Lat. Q. v. I. 126 Baptism scene, from the Hours of Louis d Orleans
XJL213683 Ms Lat. Q.v.I.126 Baptism scene, from the Hours of Louis d Orleans, 1469 (vellum) by Colombe, Jean (c.1430-c.93); total:225x155 cm; National Library, St

Udasees, c. 1862-64 (b / w photo)
622742 Udasees, c.1862-64 (b/w photo) by Shepherd, Charles & Robertson, Arthur (fl.1862-64); 20x16.1 cm; Private Collection; (add.info)

Kanaks, New Caledonia (b / w photo)
661461 Kanaks, New Caledonia (b/w photo) by French Photographer, (19th century); Societe de Geographie, Paris, France; (add.info.: canaques)

The Encounter between Hernando Cortes (1485-1547) and Montezuma II (1466-1520)
STC109039 The Encounter between Hernando Cortes (1485-1547) and Montezuma II (1466-1520), from Le Costume Ancien et Moderne, Volume I, plate 63, by Jules Ferrario

The Triumph of Quassia, published by Hannah Humphrey in 1806 (hand-coloured etching)
NCO193108 The Triumph of Quassia, published by Hannah Humphrey in 1806 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

The Man of Sorrows, 1509 (Burin engraving on copper)
5890589 The Man of Sorrows, 1509 (Burin engraving on copper) by DAorer or Duerer, Albrecht (1471-1528); 11.8x7.5 cm; Private Collection; Luisa Ricciarini; German, out of copyright

Plate 506. Bricklaying, 1872-85 (collotype on paper)
3950354 Plate 506. Bricklaying, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 20.6x36.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 371. Acrobat, Vertical Press Up, 1872-85 (collotype on paper)
3950343 Plate 371. Acrobat, Vertical Press Up, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17.6x41.9 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 368. Acrobat, Descending Stairs on Hands, 1872-85 (collotype on paper)
3950342 Plate 368. Acrobat, Descending Stairs on Hands, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 20x38.4 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 366. Running, Hitch and Kick, 1872-85 (collotype on paper)
3950341 Plate 366. Running, Hitch and Kick, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 23x45.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 356. Kneeling, Firing and Rising, 1872-85 (collotype on paper)
3950334 Plate 356. Kneeling, Firing and Rising, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 23.7x31.6 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 355. On Guard, Walking and Turning Around, 1872-85 (collotype on paper)
3950333 Plate 355. On Guard, Walking and Turning Around, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 21.9x35.4 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 352. Shoulder, Order, and Carry Arms, 1872-85 (collotype on paper)
3950330 Plate 352. Shoulder, Order, and Carry Arms, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.8x30.5 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 338. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper)
3950322 Plate 338. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.9x32.1 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 321. A, Lifting a 50 lb Dumb-Bell; B, Posing, 1872-85 (collotype on paper)
3950309 Plate 321. A, Lifting a 50 lb Dumb-Bell; B, Posing, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.1x41.9 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 160. Jumping; Running Broad Jump (Shoes), 1872-85 (collotype on paper)
3950301 Plate 160. Jumping; Running Broad Jump (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 19.1x40.6 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 60. Running at a Half-Mile Gait (Shoes), 1872-1885 (collotype on paper)
3950294 Plate 60. Running at a Half-Mile Gait (Shoes), 1872-1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24x32.4 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

The Village Barber, 1842 (hand coloured lithograph)
986458 The Village Barber, 1842 (hand coloured lithograph) by Tayler, William (1808-92) (after); Private Collection; (add.info.: The Village Barber)

Mato-Tope, adorned with the Insignia of his Warlike Deeds, 1844 (hand coloured aquatint)
986299 Mato-Tope, adorned with the Insignia of his Warlike Deeds, 1844 (hand coloured aquatint) by Bodmer, Karl (1809-93) (after); Private Collection; (add.info.: Mato-Tope)

Putti watering hearts (chromolitho)
2775219 Putti watering hearts (chromolitho) by English School, (20th century); Private Collection; (add.info.: Putti watering hearts)

Detail of a relief (stone)
GDG383017 Detail of a relief (stone) by Egyptian; Kom Ombo, Egypt; (add.info.: homme debout; profil hieroglyphe; hieroglyphes; ptolemaique; sanctuaire; Egypte; pagne; ); eGerard Degeorge; Egyptian

Christ baptised by John the Baptist
LLM339665 Christ baptised by John the Baptist by Hole, William Brassey (1846-1917); Private Collection; (add.info.: Christ baptised by John the Baptist)

The Martyrdom of St. Lawrence, c. 1621 / 22 (oil on canvas)
SCP38745 The Martyrdom of St. Lawrence, c.1621/22 (oil on canvas) by Boulogne, Valentin de (1594-1632); 195x261 cm; Prado, Madrid, Spain; French, out of copyright

Towa, c. 1817 (w / c & bodycolour)
BAL43083 Towa, c.1817 (w/c & bodycolour) by Browne, Richard (1776-1824); Private Collection; Australian, out of copyright

The Flagellation, c. 1610 (oil on canvas)
CH262789 The Flagellation, c.1610 (oil on canvas) by Caravaggio, Michelangelo (1571-1610) (circle of); 178.4x106.7 cm; Private Collection; Photo eChristies Images; Italian, out of copyright

The Elderly Fisherman, or The Death of Seneca (alabaster and black marble
XIR139016 The Elderly Fisherman, or The Death of Seneca (alabaster and black marble) (b/w photo) by Roman, (2nd century AD); height: 183 cm; Louvre, Paris

Interior of the Kunsthistorisches Museum, Vienna depicting archway with spandrel
XAM68691 Interior of the Kunsthistorisches Museum, Vienna depicting archway with spandrel decoration depicting figures of David and Venus representing 14th and 15th century Florence, Vienna

The Flagellation of Christ (polychrome wood)
XIR187572 The Flagellation of Christ (polychrome wood) by Fernandez, Gregorio (1576-1636); 139x70 cm; Convento de la Encarnacion, Madrid, Spain; Spanish, out of copyright

Plate 646. Jumping a Hurdle; Saddle; Rider, 105, Nude;, 1885 (collotype on paper)
3950622 Plate 646.Jumping a Hurdle; Saddle; Rider, 105, Nude;, 1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.8x43.3 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 523. A, Striking a Blow; B, Throwing Disk;, 1872-85 (collotype on paper)
3950359 Plate 523. A, Striking a Blow; B, Throwing Disk;, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 32.7x24.8 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 512. Contortions on Rings, 1872-85 (collotype on paper)
3950358 Plate 512. Contortions on Rings, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17.6x44 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 511. Contortions on the Ground, 1872-85 (collotype on paper)
3950357 Plate 511. Contortions on the Ground, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 21.4x33.3 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 510. Contortions on the Ground, 1872-85 (collotype on paper)
3950356 Plate 510. Contortions on the Ground, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.4x41.9 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 379. Carpenter, Planing a Board, 1872-85 (collotype on paper)
3950349 Plate 379. Carpenter, Planing a Board, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.7x33.2 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 359. Charging Bayonet, 1872-85 (collotype on paper)
3950337 Plate 359. Charging Bayonet, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.3x41 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 358. Lying on Back and Firing, 1872-85 (collotype on paper)
3950336 Plate 358. Lying on Back and Firing, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 19.2x39.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 351. Fix and Unfix Bayonets, 1872-85 (collotype on paper)
3950329 Plate 351. Fix and Unfix Bayonets, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.5x31 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

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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.