'Flowers will show how to turn light into rainbows. They know even better than Bridget Riley. What would we do for rose without roses, for violet, for cyclamen, for primrose without their flowers?' Winifred Nicholson observed in 1969. A good friend of Mondrian’s before the war and with first-hand experience also of French Modernism of the 1930’s, Nicholson had long since arrived at her own personal synthesis of such avant-garde ideas. This luminous little painting, probably dating from the 1930’s (she rarely dated any of her work), epitomises the degree to which flowers now became her preferred way of exploring what she felt to be the true purpose of art - 'the desire to resolve opposites'. For her this meant, the sense of life and death they quite literally embodied, the idea of something out of apparently nothing. Or again, in her own words -' What greater enjoyment than to turn common air into perfume, light into rainbows and the irreconcilable opposites into the neighbourliness of brush strokes?'