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Any Corner by W.E. Henley (British poet, 18949-1903) from "London Types" 

There's never a delicate nurseling of the year
But our huge London hails it, and delights
To wear it on her breast or at her ear,
Her days to colour and make sweet her nights.
Crocus and daffodil and violet,
Pink, primrose, valley-lily, clove-carnation,
Red rose and white, wall-flower, mignonette,
The daisies all-these be her recreation,
Her gaudies these! And forth from DRURY LANE,
Trapesing in any of her whirl of weathers,
Her flower-girls foot it, honest and hoarse and vain,
All boot and little shawl and wilted feathers:
Of populous corners right advantage taking,
And, where they squat, endlessly posy-making.

"Nicholson’s portfolio of London characters anticipated even the boldest of contemporary graphics with an approach to design that pulled no punches. Little wonder, then, that by the turn of the century, and at the age of just twenty-six, he was touted as Britain’s greatest living printmaker."  (goldmarkart.com)
Flower Girl ca. 1890

"William Nicholson's woodblock prints of the 1890's were amongst the most revolutionary British print images of the era. They used a treatment of form, with a stylised simplification of shape, and a handling of perspective and picture space which had had no precedent in British art. Influences of Japanese art, and a parallel thinking to, if not a direct knowledge of, the ideas of Toulouse Lautrec and of the Nabis painters in Paris at the same period can certainly be felt, although there is no record that Nicholson had actually studied either at this date. 

One of the most famous of the groups of prints that Nicholson cut at this period was the series known as 'London Types'. This was made at the instigation of William Heinemann, who published all William Nicholson's early prints. The series portrays typical figures from London life of the period. Such as the girls who sat with the baskets of flowers for sale who were a familiar sight near 'Rotten Row' where the fashionable people of London society rode out on their horses at the edge of Hyde Park by Park Lane. The impressions of this popular edition were printed by taking a transfer from his woodblock onto a lithographic stone and adding lithograph colour" (Weston)