From the 1940s through the 1960s, the Alfred Mainzer Company of Long Island City, NY published a series of linen and photochrome humorous cat postcards illustrated by Eugen Hartung (or Hurtong) (1897–1973), sometimes referred to as “Mainzer Cats”. These postcards normally illustrate settings that are filled with action, often with a minor disaster just about to occur. While the dressed cats were by far the most popular and most plentiful cards, Hartung also painted other dressed animals – primarily mice, dogs, and hedgehogs.

Is it the surface of the Mars or Venus or an undiscovered planet? Not at all. These pictures aren’t what you think they are. Christopher Jonassen, a Norwegian photographer shot these beautiful and otherworldly series called ‘Devour of frying pan bottoms’, which are visually similar to craters and scars on a planet’s surface. In his series Jonassen refers to a quote of Jean-Paul Satre who said: ‘To eat is to appropriate destruction’ and the meaning of the word ‘devour’, which stands for eating up greedily, destroying, consuming, and wasting.

In order to get a glimpse into the visual culture of drug trade in New York City, a British photographer Graham MacIndoe collected more than one hundred bags, which were used to sell heroin. These bags feature references to various movies, fast-food restaurants, and luxury brands. This could be a way to mark various purities of heroin, or maybe different drug dealers use different markers to distinguish between each other. We can only wonder where Graham has acquired all these heroin bags. Hopefully, he picked them up after their contents were emptied. (Photo by Graham MacIndoe)

Beneath the Swedish capital lies an intricate web of underground train lines. More than 90 of the 100 stations in the 110km tunnel system, sometimes referred to as “the world’s longest art gallery”, have been decorated with paintings, installations, mosaics and sculptures by 150 artists since the 1950s. After spending a couple of weeks exploring arctic Norway and Sweden, London-based travel photographer Conor MacNeill headed underground to capture images of the metro stations. Here: A rainbow arcs over a girl on the platform of Stadion station. (Photo by Conor MacNeill/The Observer)

Lucha libre is Mexico’s version of what in the United States refer to as pro wrestling. Its dates to 1863, when a Mexican wrestler named Enrique Ugartechea developed a form of “freestyle” wrestling that was based on Greco-Roman wrestling. Lucha libre began to soar in popularity in Mexico after two Italian businessmen started promoting fights in the early 1900s. It has since become popular around the globe. Here: Juliza meets with colleagues at her home. (Photo by Diana Bagnoli/The Washington Post)

All throughout history of mankind people were fascinated by time, its flow, and how to measure it. Thus, the science of horology can into being, as people invented more and more sophisticated ways of measuring the passage of time. Truly, it’s one of the most profound characteristics of being a human, to feel and to ponder the meaning of time, its properties, and will we ever be able to move through it, not with it. Now, however, horology is mainly referred to the art of mechanical watchmaking. (Photo by MB&F)

“The National Portrait Gallery, London's annual photographic portrait prize was established in 2003 as the Schweppes Photographic Portrait Prize. In the years 2006 and 2007 it was referred to simply as the Photographic Portrait Prize, while from 2008 new sponsors have resulted in the name, Taylor Wessing Photographic Portait Prize”. – Wikipedia. Photo: “Tic Tac and Tootsie (twin sisters Carrol and Shelly McKean)”. Taylor Wessing photographic portrait prize 2010. (Photo by Jeffrey Stockbridge)

The Mano de Desierto is a large-scale sculpture of a hand located in the Atacama Desert in Chile, 75 km to the south of the city of Antofagasta, on the Panamerican Highway. The nearest point of reference is the “Ciudad Empresarial La Negra” (La Negra Business City). The sculpture was constructed by the Chilean sculptor Mario Irarrázabal at an altitude of 1,100 meters above sea level. Irarrázabal used the human figure to express emotions like injustice, loneliness, sorrow and torture. Its exaggerated size is said to emphasize human vulnerability and helplessness. The work has a base of iron and cement, and stands 11 metres (36 ft) tall. Funded by Corporación Pro Antofagasta, a local booster organization, the sculpture was inaugurated on March 28, 1992.