A polka-dotted foreign roadster for Polka-dot Queen Chili Williams was created by International Motors, a Hollywood automobile importer, shown March 8, 1948. Chili, a sports car enthusiast, requested that the British auto be “personalized”. (Photo by AP Photo)

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

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

Art photography gallery Lumas has opened its doors to “Masterpieces of Fashion Photography” exhibition at its London flagship space, showcasing previously unreleased images by legends such as Horst P. Horst, Edward Steichen, Bert Stern and Arthur Elgort. Here: Darryl Hannah on elephant, 1992. (Photo by Michel Comte/Vogue Archive Collection)

For her series “Dolce Vita in Hell”, Swiss photojournalist Stéphanie Buret headed to Eritrea and found a country struggling to haul itself out of oppression – but with its art deco buildings still looking stunning. (Photo by Stéphanie Buret/The Guardian)

An instructor (C) adjusts the posture of students of flight attendant major during a training session at Anhui Foreign Languages University, in Hefei, Anhui province, China, May 25, 2015. (Photo by Reuters/China Daily)

Farmers take a break for lunch while celebrating National Paddy Day, also called Asar Pandra, that marks the commencement of rice crop planting in paddy fields as monsoon season arrives, in Kathmandu, Nepal, June 29, 2020. (Photo by Navesh Chitrakar/Reuters)

“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)