A waterfront view from off Moss's Wharf, just east of the Trafalgar Tavern looking east over Highbridge Wharf, with Greenwich Power Station (1906-12) beyond. The Power Station's north chimneys are visible and still have their original height (all are now equally short). A lighter lies on baulks on the foreshore in the foreground, with part of another to the left. The far-end weatherboard building, originally the Crown and Sceptre Tavern dating from at least the 1770s, is shown bearing the name of the Curlew Rowing Club, which occupied it in the years before its demolition shortly after this print was made. The derelict brick building with the 'Motor Boat' sign, probably part of two boat-hire premises at the time (the westernmost being Corbett's), may be - though see otherwise below - remains of the large neo-classical dining hall added to the west side of the Crown and Sceptre in the 1830s.

This was begun in 1836 to the design of George Smith (1782-1869) and his pupil William Barnes, and was in use from 1 May 1837. Smith was a London architect who did a great deal of local work in Greenwich and Blackheath.Their design was exhibited at the Royal Academy that year while it was still completing for the tavern landlords 'Messrs Lovegrove and Quartermaine'. From 1882 the hall became the Greenwich working mens' Conservative Club and it seems to have been demolished by 1930, with two-floor industrial buildings called Highbridge Wharf completed on the whole hall and Crown and Sceptre site by 1937. In 1954 Gazelee's 'River Thames Wharf Directory' lists them as occupied, west to east, by Griffith and Co., warehousemen, lightermen and hauliers, and W. H. Donovan, barge repairs.

It is possible, however, that Spencer's perspective here is very foreshortened. If so, the only visible remains of Smith's dining hall are the classical stone facing/under-pinning of the near part of the tavern building, and the crumbling brickwork shown is part of more industrial structure on the east side of the Highbridge drawdock ( the gate of which which still exists and gives access to the foreshore at the north end of Eastney Street). The print gains its effect from the changes of building scale and contrasting elements and textures of which it is composed. It is titled, signed and dated by the artist in pencil in the lower margin.