Bruce Laughton (loc. cit.) discusses the still-life pictures of the early 1940s 'Everlasting flowers, together with roses and other kinds, again became a Pasmore motif when he lived in Chiswick and then in Hammersmith from 1943 to 1947...At a later stage, when Pasmore was on the verge of moving into complete abstraction during 1946-47, everlasting flowers and roses were again the subjects of studies of which the motif began to detach itself from deep pictorial space and stick closely to the pictures place. His steps towards completely abstract painting can thus be traced as a logical sequence within this category of subject-matter alone'