A composition in which the artist has incorporated recognizable features at Dover, about 1849, with imaginary narrative. The painting falls into two parts with a brig shown on the left amidst dark clouds and a stormy sea. It is flying the red ensign upside down to indicate that it is in distress. A boat is being launched from the beach to go to its assistance. On the right preparatory stages for the construction of a pier are underway. The artist has carefully delineated the various processes involved at the building site such as a hoist, ladders and blocks of stone together with several manual workers in red caps at the site. They do not appear to be aware of the ship in trouble at sea and this reinforces the appearance of two distinct narratives. Only the man, woman and child in the middle distance look directly at the ship from the raised quay.

The view is taken from the position of the modern Admiralty Pier, looking west. Shakespeare's Cliff rises to dominate the skyline in the distance with the two tunnels of the London-Dover railway visible at its base, following the arrival of the South- Eastern Railway via Folkestone in 1844. On the right is the Pilot's Watchtower, which was constructed in 1847 and demolished by 1910. This structure was used to house the pilots who were able to keep a continuous look-out for passing vessels in need of their services to guide them safely into port. In 1846 there had been a recommendation that Dover become a harbour of refuge 'capable of receiving any class of vessels under all circumstances of the wind and tide'. The following year, probably the year of the preliminary sketches for this painting, work began on the western arm of the harbour commissioned by the Admiralty. The painting can be seen as a glorification of industrial progress, and Dover as the place at which England advances towards the continent of Europe, yet equally defines its own boundary. The white cliffs bear a symbolic and historical significance making Dover a locus of identity for the sovereignty of the nation. However the inclusion of the contrived scene on the left invites a less confident reading.

After Turner, Stanfield was considered the greatest British marine painter of his day. He started his working life at sea, but his talent for sketching attracted attention and from 1816 to 1834 he rose to become the leading theatrical scene painter of his time. At the same time his growing success as an easel painter of marine and coastal views built him a success which enabled him to give up the stage and from 1835 he became an Academician of powerful influence. The painting is signed 'C Stanfield RA 1862' bottom left and was exhibited at the Royal Academy in 1863. There is a related oil study in the Victoria and Albert Museum.