The first histogram tells you that you mostly have a lot of everything: darks, mids, and highlights. The darks are in the shade to the right side of the photo, the mids are the road and sunny-side stuff on the left, and the highlights are mainly in the street itself. The only standout is that spike of white, which is the nearly blown-out sky.

The second histogram just tells you it's a relatively high-key photo, owing to all that cream building front. It has very little pure white, primarily in that dress, and very little pure black, probably only in the window above the model. Because of the warm tone of the photograph, the yellows extend considerably higher into the highlights than the cool tones, which is where that big yellow patch comes from.

You wouldn't use the histogram to try and replicate this look. Lightroom histograms are about brightness and lighting, not about color.

Photoshop lets you break a histogram down into its individual color components. Doing so in Lab color space can be a useful way of affecting color. A common way to mimic the highly-saturated appearance of Fuji Velvia is to compress the a and b channels, leaving L alone, for example.