She is just a Peddler, a  poor young woman who is tryng to sell her shrimps and fishes among the crowd in a street with a wide smile on her face. 

 She is probably a girl who Hogart saw and never forgot. 

She would have probably sold anithing else, from political pamphlets to sex, just to get some money, as poor people  used to do  at that time. 

But there is just one face in the painting, a face who attracted the artist for a second, a poor person whose Hogart dignifies joyful bearing

The fast brushwork makes us understand the pace of this society, his fast and never ending rithm with all the noises and cofusion, in which the girl distinguishes herself 

Hogarth's painting has a particular sense of beauty. Beauty was something that attracted and interested  Hogarth and, in 1753, he published his own theoretical work, The Analysis of Beauty, arguing for the curvy, unruly  beauty we encounter every day against the classic academical beauty. 

Here Hogarth celebrates a flowing , expansive, lively London woman. Her dress, jaunty (easy, disinvolta) face, the basket balanced on her head, are glimpses of a loveliness  of the streets rather than the academy.

She is a personification of London.  

He took tis painting in his private collection till he died. 

WHERE IS IT? It is now a the national gallery of London 

A dog takes a girl's cap from his left pocket, suggesting he may have spent the night with another girl. He also has a black spot on his neck, a symptom of syphilis, and his broken sword may symbolize impotence.

The girl seems unhappy about the marriage, but she may be unfaithful to her husband.

The room’s furniture reflects their unhappiness with a lack of aesthetic sensibility and discord between the couple. The painting gives a message of unhappiness and infidelity within their marriage.

During the night the Earl had entered the room, so Silvertongue had hit him in a deadly way and he was trying to escape from the window.

While the Countess was kneeling to the Earl to ask his forgiveness, the owner of the Turk’s Head entered the room with a guard and the staff of office to investigate the cause of the commotion.

The Countess’ cheeks are covered by her tears, her husband is near to death, her lover is a murderer and she has lost everything.

It is a group portrait depicting the four children of Daniel Graham, apothecary to King George II

The Graham Children is a conversation piece.

 From left to right in the picture there are Thomas, born 1740 and dressed in skirts as was typical for small boys until they were breeched (breeching was a rite of passage), Henrietta, Anna Maria and Richard. 

in Britain it was high in the eighteenth century, in fact  Thomas died before the painting was completed.

This painting is full of references to death and the passing of time, it may be that the painting is a form of memorial for Thomas.

The children are painted life size, surrounded by furnishings that reflect the family's wealth. A bird cage is suspended from a cord and Thomas sits in an ornate baby cart with a fine silver fruit bowl at his feet. Richard plays a tune on a bird-organ, apparently making the bird sing, and attracting the cat behind him.

ANALYSIS

 Hogarth turned what could have been a simple family scene, into a parable about the “passing of time and the vulnerability of innocence”. The picture plays with time with different parts moving at different speeds. The boys are captured in mid movement, like the cat and bird, while the girls seem to be completely still, so that the picture is both a snap shot of a fleeting moment and a static portrait simultaneously. 

The oldest, Henrietta, holds the wrist of the youngest, perhaps indicating her future role as a mother, and looks at the spectator, indicating her awareness of the adult world that she will soon join. The other children, however, remain in the innocent bubble of childhood.

Thomas is fascinated by the cherries held by his sister, which in Christian iconography represent the fruit of Paradise and the antidote to original sin, and for Henrietta symbolise the challenges she will soon face as she enters adulthood.

 Anna Maria practices the dance steps and curtseys that will be required of her in society, and Richard enjoys the musical performance of the finch (fringuello). 

His bird-organ bears an image of Orpheus from Greek mythology, referring to the temporary harmony of man and nature that cannot last.

 On the clock stands a small winged figure with a scythe and an hour glass representing the passage of time, while the smiling cat eyes the caged bird, referring to the fragility of life. A wooden bird adorns the baby cart, like the caged bird unable to take flight. 

The bird depicted is a goldfinch (cardellino), which for centuries had symbolised the Redemption, appropriate here because of Thomas's death. 

Hogarth included wit and pathos in the same scene by audaciously placing the predatory cat in one corner and the recently deceased child in the other. The reaction of Thomas's parents to this combination, which might have been seen as in poor taste, is unknown. The painting remained in Richard Graham's possession until at least .