Vaughan produced eight original lithographic prints between 1949 and 1953. Unlike Colquhoun, Minton and Clough, who adopted a more systematic approach, his print production was surprisingly arbitrary. For instance, we can only guess at his edition sizes. While most of his lithographs are signed and dated, curiously, none are numbered.

A green barn with an open door, at the left, is counterbalanced by a large tree, whose bare branches suggest the time of year to be early winter. Vaughan’s friend Gordon Hargreaves, who conducted a thoughtful and detailed study of his lithographs, believed this depicted a twilight scene with a blood-red moon (rather than a setting sun) emerging from behind a distant hill. This interpretation is plausible, as moonlit landscapes had been a common subject for Vaughan and other Neo-Romantic artists. Hargreaves also speculated that Rex Nan Kivell or Harry Tatlock Miller of the Redfern Gallery gave the print its title in the mid-1960s.