A young exhibitor arrives with her kitten on a lead at the National Cat Club show at Crystal Palace, London. (Photo by Fox Photos/Getty Images). 2nd December 1931

“Monorail Subway, Capitol To Senate. The Car. Senators Swanson And Townsend As Passengers, 1916”. (Photo by Harris & Ewing Collection). (Please click to enlarge)

Father Christmas arriving at the Arding and Hobbs store in Clapham Junction, London, 2nd November 1926. (Photo by H. F. Davis/Topical Press Agency/Getty Images)

Mounted cop in action on Tremont Street in Boston, Massachusetts, 1920 – 1929 (approximate). (Photo by Leslie Jones)

A model of a ghost made from translucent fibreglass is lit from inside at Gem's (Wax Models) Ltd, in the Portobello Road area of west London. The ghost is due to go to the Capistrano Mission Museum in California, where tourists are told the legend of how he frightened a young Indian girl novice to death. 1st May 1965. (Photo by Chris Ware/Keystone Features)

Mug shot of William Stanley Moore, 1 May 1925, Central Police Station, Sydney. This picture appears in the Photo Supplement to the NSW Police Gazette, 28 July, 1926 captioned: “Opium dealer. Operates with large quantities of faked opium and cocaine. A wharf labourer; associates with water front thieves and drug traders”. (Photo by NSW Police Forensic Photography Archive, Justice & Police Museum, Histiric Houses Trust of NSW)

A thirty-year-old Dutch demonstrator displays a sign that reads: “Glad to be Gay” during a gay people march in Frankfurt, Germany on Saturday, July 28, 1979 which ended a week long homosexual meeting. Hundreds of homosexual converged for a week of movies, theater, rock concerts and workshops on gay rights. (Photo by Rolf Boehm/AP Photo)

“Woman with Umbrella in Rain” by Raimund von Stillfried. Artist: Kusakabe Kimbei (Japanese, 1841–1934), 1870s. Commercial photography studios in Meiji-era Japan were renowned for the subtlety and refinement of their coloring techniques. This hand-tinted image of a young woman caught in a heavy rainstorm achieved its naturalistic effect by knitting together multiple strands of artifice: the greenery in the foreground was a studio prop; the flaps of the kimono were suspended by thin wires to create the impression of a strong wind; and long, diagonal marks were made on the negative to suggest streaks of rain. (Photo courtesy of The Metropolitan Museum of Art)