Brockhurst turned to lithography in 1942 and made 5 works in this medium before concluding his print-making career. His skilled draughtsmanship allowed him to explore this medium in its highest form. Normally an artist can only make a few proofs from a stone before completing the edition, otherwise they risk ruining the design, but Brockhurst seems to be an exception to this rule. For 'Siena' the artist produced four distinct states before the final edition, changing elements of the work and even his signature, with some initials being reversed. After more than a decade since her last portrait and four years after their divorce, Brockhurst chose to represent his first wife Anaïs one last time, taking inspiration from the 1931 etching 'Young Womanhood'. Her striking features are brought to life once more and all the attention is focused on her face, with just a hint of her beaded cap showing. Her androgynous features could not be more different from Brockhurst's seductive and fashionable second wife Dorette, yet she remained for the artist and unparalleled model of feminine beauty.