From the Art Canada Institute The Art Canada Institute gratefully acknowledges the generosity of Power Corporation of Canada, Season Sponsor, 2025–2026 Publications. A heartfelt thank you to the sponsors of this publication: Presenting Sponsor: Jonathan Wener, CM; Title Sponsors: Alan and Patricia Koval Foundation, The Schulich Foundation, and The Jack Weinbaum Family Foundation; Gold Sponsor: The Morris & Rosalind Goodman Family Foundation; Silver Sponsors: The Azrieli Foundation, The Delaney Family Foundation, The DH Gales Family Charitable Foundation, and The Spatz Foundation; Contributors: Peter and Neri Slan; and The Weisz Family.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
A fraction of William Raphael’s paintings are now preserved in a few museums dedicated to art history. Other works, still too few, can be found in various public collections. Thus, attempting a somewhat exhaustive study of the work of the neo-Canadian painter would have been impossible based on these resources alone.
Fortunately, a more complete picture of the artist’s output has been pieced together thanks to the efforts of his great-great-grandson, Jonathan Wener. Although not a painter like his ancestor, Wener contributed to Montreal’s urban landscape by founding Canderel in 1975, a company dedicated to the construction, acquisition, and management of buildings. The entrepreneur, who also has a keen artistic passion, has spent years buying, restoring, and preserving his great-great-grandfather’s works. This commitment has led to the creation of an impressive reference collection on the artist, which demonstrates both the collector’s sensitivity and his great concern for preserving a heritage that is both family and community-based. I am particularly grateful to him for supporting this book project by giving me unlimited access to his collection, stimulating research, and ensuring that the life and art of William Raphael take on a new lease on life, now accessible to all through this publication by the Canadian Art Institute.
I am indebted to many people for their assistance in preparing this book. The invitation to explore the work and life of William Raphael came from Annie Gérin, dean of the Faculty of Fine Arts at Concordia University. I sincerely thank her for her trust and for introducing me to the team at the Art Canada Institute and its executive director and founder, Sara Angel. With her support and the collaboration of many professionals at ACI, including Emma Doubt, Victoria Nolte, Tara Ng, Annie Champagne, and Philip Dombowsky, this project has become a reality. To all of them, I offer my deepest gratitude.
My thanks also go to the many institutions and staff members of various departments with whom I corresponded for my research. I would especially like to thank Christian Vachon (McCord Stewart Museum), Nadine Rose (Wener Family Office), Emmy Côté (Collège de Maisonneuve), Mathieu Tremblay, Rose-Laurence Noël (Musée de Lachine), Anne Whitelaw (Concordia University), Mary-Dailey Desmarais, Clarence Epstein, Sal Guerrera, Craig Klinkhoff, and the Alan Klinkhoff Gallery for their valuable contributions to this project.
I would also like to acknowledge the assistance of Ulrike Möhlenbeck (Akademie Der Künste Archiv, Berlin); Troy Wagner (Art Gallery of Nova Scotia); Christine Brisson (Château Ramezay); Éric Bouchard (Library of Rare Books and Special Collections, Université de Montréal); Myriam Barriault Fortin (Galerie de l’Université de Montréal); Dominic Hardy (Université du Québec à Montréal); Zoë Tousignant and Heather McNabb (McCord Stewart Museum); Nathalie Galego, Julie Alary Lavallée, and Renée Filbey (Musée d’art de Joliette); Jacques Des Rochers and Danielle Blanchette (Montreal Museum of Fine Arts); Daniel Drouin (Musée national des beaux-arts du Québec); Asta McCann (RiverBrink Art Museum); Carol Baum (Royal Ontario Museum); Sonya Jones (Robert McLaughlin Gallery); Shannon Bingeman (Tom Thomson Art Gallery); Sydney Murchison (Winnipeg Art Gallery); Stephenson Strobel, Sharon Goelman, and Mario Béland. I am deeply grateful to them for granting me access to both the artworks and useful information for this book.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
The Art Canada Institute would like to thank the following for their assistance: Art Gallery of Nova Scotia (Shannon Parker); Art Gallery of Ontario (Alexandra Cousins); Beaverbrook Art Gallery (Dawn Steeves); Bibliothèque et Archives nationales du Québec (Fanny Beaupré, Camille G. Jobin); Bibliothèque des livres rares et collections spéciales de l’Université de Montréal (Éric Bouchard); Château Ramezay (Christine Brisson); Chislehurst Digitization (Jacqueline M.E. Vincent); Congregation Shaar Hashomayim (Hannah Srour-Zackon); Cowley Abbott Fine Art (Julia De Kwant); McCord Stewart Museum (Anne-Frédérique Beaulieu, Christian Vachon); Montreal Museum of Fine Arts (Linda-Anne D’Anjou, Marie-Claude Saia); Musée de la civilisation (Frédérick Bussières); Musée de Lachine (Isabelle Gay, Rose-Laurence Noël); Musée national des beaux-arts du Québec (Julie Bouffard); Musée Pointe-à-Callière (Sophie Bergeron); National Gallery of Canada (Emily Putnam); Rare Books and Special Collections, McGill University Libraries (Jennifer Garland, Ann Marie Holland); RiverBrink Art Museum (Moyu Cheu); Royal Ontario Museum (Nicola Woods); Tom Thomson Art Gallery (Shannon Bingeman); Winnipeg Art Gallery—Qaumajuq (Nicole Fletcher, Sydney Murchison); and Toni Hafkenscheid, Nadine Rose, Dr. Stephenson Strobel, and Jonathan Wener.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credit for Cover Image
William Raphael, Bonsecours Market, Montreal, 1880. (See below for details.)
Credits for Banner Images
Biography: William Raphael, painter, c.1890. (See below for details.)
Key Works: William Raphael, Behind Bonsecours Market, Montreal, 1866. (See below for details.)
Significance & Critical Issues: William Raphael, Fireside Chat in the Clearing, 1867. (See below for details.)
Style & Technique: William Raphael, Untitled (Lake Memphremagog), 1869. (See below for details.)
Sources & Resources: William Raphael, Bonsecours Market, 1864. (See below for details.)
Where to See: William Raphael, The Boating Party, 1876. (See below for details.)
Copyrights & Credits: William Raphael, Longueuil Wharf, September 11, 1889. (See below for details.)
Credits for Works by William Raphael
An Amateur, 1886. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Anatomy Study of Arm Muscles, 1853–56. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18089.31). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Anatomy Study of Leg Muscles, 1853–57. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18088.20r). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Arrocher, 1865. Collection of the McCord Stewart Museum, Montreal, gift of Dr. William D. Lighthall (M933.28.1.6). Courtesy of the McCord Stewart Museum.
The Artist’s Dog Niny, c.1895. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
The Artist’s House in Victoria St., 1908. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Awaiting Mother’s Return on a Snowy Day, 1891. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Behind Bonsecours Market, Montreal, 1866. Collection of the National Gallery of Canada, Ottawa, purchased 1957 (6673). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Boating at Dusk, 1878. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
The Boating Party, 1876. Collection of the National Gallery of Canada, Ottawa, purchased 1977 (18816). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Bonsecours Market, Montreal, 1880. Collection of the National Gallery of Canada, Ottawa, purchased 2015 (46501). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Boy and a Cart, 1860. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Cap-à-l’Aigle, August 3, 1878. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18090.29v). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Coachman Standing at Rest Smoking a Pipe, 1881. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Cowansville, July 16, 1885. Collection of the McCord Stewart Museum, Montreal, gift of Dr. William D. Lighthall (M933.27.1.35). Courtesy of the McCord Stewart Museum.
Dam on the St. Charles River, August 11, 1874. Collection of the Musée de Lachine, Montreal, gift of the Sisters of Sainte-Anne (2008.66.13). Courtesy of the Musée de Lachine.
Double Barn Building Reflecting in Water, 1874. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Encampment by the River, 1871. Private collection. Courtesy of Cowley Abbott. Photo credit: Cowley Abbott.
Fireside Chat in the Clearing, 1867. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Going to Town, 1862. Samuel E. Weir Collection, RiverBrink Art Museum, Niagara-on-the-Lake, Ontario (982.88). Courtesy of the RiverBrink Art Museum.
Good News, 1875. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Habitant, c.1873–1910. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Habitant (or Preparing to Smoke), c.1872–1910. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Habitant Warming, 1872–1910. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Habitants Attacked by Wolves, 1870. Collection of the Montreal Museum of Fine Arts, gift of the Misses Scott (1923.373). Courtesy of the Montreal Museum of Fine Arts. Photo credit: MMFA.
Hand on Guitar, January 31, 1854. Collection of the Musée de Lachine, Montreal, gift of the Sisters of Sainte-Anne (2008.62.1). Courtesy of the Musée de Lachine.
Haymarket Square / Victoria Square, 1861. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Indian Encampment on the Lower St. Lawrence, 1879. Collection of the National Gallery of Canada, Ottawa, Royal Canadian Academy of Arts diploma work, deposited by the artist, Montreal, 1880 (59). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Landscape with Pond and Pink Bushes, August 25, 1885. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Longueuil Wharf, September 11, 1889. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Man and Two Women, August 25, 1851. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18091.12). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Man Playing Violin Under Lamppost, 1853–57. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18088.11r). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Man Seated, 1882. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18092.23r). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The McFarlane Children, 1871. Collection of the National Gallery of Canada, Ottawa, gift of Hugh Hanson Davidson, Ottawa, 1987, in memory of C.H. McFarlane (29786). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Moonlight, 1898. Unknown location.
Mr. Sarrasin, St. Gabriel de Brandon (Holding Pipe), 1872. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Murray Bay, July 30, 1878. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18090.5r). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Murray Bay Rock in Greenery, 1878. Collection of the Musée de Lachine, Montreal, gift of the Sisters of Sainte-Anne (2008.66.1). Courtesy of the Musée de Lachine.
The Old Pedlar, 1859. Collection of the Art Gallery of Nova Scotia, Halifax, acquired from Lawrence W.B. Morris, 1930 (1930.2). Courtesy of the Art Gallery of Nova Scotia. Photo credit: AGNS.
Pack of Wolves, c.1879. Collection of the McCord Stewart Museum, Montreal, gift of Dr. Theodore D. Lande (M2002.128.32). Courtesy of the McCord Stewart Museum.
Pointe-au-Pic, Murray Bay—Approaching Storm, 1878. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Portrait of a Lady, 1884. Collection of the Winnipeg Art Gallery—Qaumajuq, gift of Mr. Peter Dobush (G-65-87). Courtesy of the Winnipeg Art Gallery—Qaumajuq.
Portrait of a Man, 1874. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Portrait of a Woman, June 8, 1855. Collection of the Musée de Lachine, Montreal, gift of the Sisters of Sainte-Anne (2008.63.5). Courtesy of the Musée de Lachine.
Portrait of an Orthodox Jew, 1861. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Portrait of an Orthodox Jew Smoking, 1861. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Portrait of Jeremiah Wright Wilson, 1878. Rare Books and Special Collections Library, University of Montreal, Louis Melzack Canadiana Collection (MZt05). Courtesy of the Galerie de l’Université de Montréal.
Portrait of Louis-Édouard Desjardins, 1877. Collection of Pointe-à-Callière, Montreal Archaeology and History Complex (2018.01.01). Courtesy of Pointe-à-Callière, Montreal Archaeology and History Complex.
Portrait of Two Children, n.d. Private collection. Courtesy of Alan Klinkhoff Gallery. Photo credit: Alan Klinkhoff Gallery.
Portrait of William McGillivray, 1908. Collection of the Château Ramezay, Montreal. Courtesy of the Château Ramezay.
Portrait of Wolf Rafalsky, c.1880. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
The Rafalsky family home in Nakel, May 6, 1851. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18091.10). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Rival Beggars, 1861. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Royal Mail, New Brunswick, 1861. Collection of the Beaverbrook Art Gallery, Fredericton, gift of Lord Beaverbrook (1959.176). Courtesy of the Beaverbrook Art Gallery.
Sawmill and Hydraulic Dam, 1889. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Self-Portrait, 1862. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Self-Portrait of the Artist, c.1885, Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Sinking of the Schooner Industry, December 19, 1856. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
A Sketch from Nature, 1882. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Tobogganing, Fletcher’s Field, Montreal, 1875–78. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18090.19). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Still Life (Northern Flickers), 1885. Collection of the National Gallery of Canada, Ottawa, gift of James G. MacLaren, Ottawa, 2012 (45760). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Study of a Human Skull, 1851–56. Collection of Dr. Stevenson Strobel, Toronto. Courtesy of Dr. Stevenson Strobel. Photo credit: Toni Hafkenscheid.
Study of a sculpture of a flayed figure, 1854. Collection of the National Gallery of Canada, Ottawa, purchased 1974 (18088.3v). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Tandem, 1869. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1952.02). Courtesy of the Musée national des beaux-arts du Québec. Photo credit: MNBAQ, Patrick Altman.
Tandem, 1878. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Throwing the Bait, River St. Charles, Quebec, 1895. Private collection. Courtesy of Cowley Abbott. Photo credit: Cowley Abbott.
Two Women in Rowboat Near Shoreline, July 5, 1911. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
Untitled (Lake Memphremagog), 1869. Collection of the Tom Thomson Art Gallery, Owen Sound, gift from an anonymous donor through the Ontario Heritage Trust, an agency of the Government of Ontario, 1988 (1988.011.060). Courtesy of the Tom Thomson Art Gallery.
Waiting for the Train, Dunn Station, Lachine, June 25, 1883. Collection of the McCord Stewart Museum, Montreal, gift of Dr. William D. Lighthall (M933.27.1.68). Courtesy of the McCord Stewart Museum.
With the Current, 1892. Collection of the Montreal Museum of Fine Arts, purchase, Horsley and Annie Townsend Bequest. Courtesy of the Montreal Museum of Fine Arts. Photo credit: MMFA.
Credits for Photographs and Works by Other Artists
Aboriginal Bark Huts and Basket Maker, Murray Bay, QC, c.1873, by Livernois Studio. Collection of the McCord Stewart Museum, Montreal, gift of David Watson (MP-1994.26.78). Courtesy of the McCord Stewart Museum.
Advertisement for “W. Raphael’s Classes,” Montreal Star, Tuesday, September 16, 1884, page 1.
Antique wooden ark in the sanctuary at the Spanish and Portuguese Synagogue, Montreal, 2018. Photograph by Dave Sidaway / Montreal Gazette.
Apollo Belvedere, Drawing Model, second half of the nineteenth century, by an unknown artist, after Leochares. Unknown location.
Arch at Foot of Jacques Cartier Square, for Albert Edward, Prince of Wales’ Visit, Montreal, QC, 1860, by William Notman. Collection of the McCord Stewart Museum, Montreal, gift of Captain John P.T. Dawson (N-1984.107.140). Courtesy of the McCord Stewart Museum.
Art Association Building, Phillips’ Square, Montreal, QC, c.1893, by Wm. Notman & Son. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (VIEW-2543.1). Courtesy of the McCord Stewart Museum.
Art Association of Montreal sculpture room, by an unknown photographer. Collection of the Montreal Museum of Fine Arts Archives. Courtesy of the Montreal Museum of Fine Arts Archives.
Baron de Hirsh School and Institute, Montreal, c.1903–6. Bibliothèque et Archives nationales du Québec, Montreal, Michel Bazinet Collection (15-40-d). Courtesy of Bibliothèque et Archives nationales du Québec.
Beaver Hall Hill from Victoria Square, Montreal, QC, 1866, 1866, by William Notman Studio. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation and Empire-Universal Films Ltd. (I-20928.1). Courtesy of the McCord Stewart Museum.
The Cedar Match, from the Trads, Customs and Legends of Yesteryear series, 1927–31, by Alfred Laliberté. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase, restoration carried out by the Centre de conservation du Québec (1934.438). Courtesy of the Musée national des beaux-arts du Québec. Photo credit: MNBAQ, Patrick Altman.
Cover of The Illustrated History of Canada, edited by Craig Brown (Lester & Orpen Dennys, 1987).
Diploma Pictures—Presented to the New National Gallery, 1880, by unknown artist, in Grip 14, no. 18 (March 20, 1880). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Dominion Square in the Snow, Montreal (Le Carré Dominion sous la neige, Montréal), 1912, by Maurice Cullen. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase, restoration carried out by the Centre de conservation du Québec (1941.33). Courtesy of the Musée national des beaux-arts du Québec. Photo credit: MNBAQ, Denis Legendre.
Dr. Roddick’s Case of Occipital Meningocele, 1880, by John Henry Walker, after William Raphael. Collection of the McCord Stewart Museum, Montreal, gift of David Ross McCord (M930.50.2.161). Courtesy of the McCord Stewart Museum.
Dr. Roddick’s Remarkable Case of Favus, Showing the Distribution of the Scabs and the Extent of the Eruption on the Body, 1880, by John Henry Walker, after William Raphael. Collection of the McCord Stewart Museum, Montreal, gift of David Ross McCord (M930.50.2.162). Courtesy of the McCord Stewart Museum.
The Early Bird Picks Up the Worm, 1869, by Roberts & Reinhold, after William Raphael. Collection of Library and Archives Canada, Ottawa, Peter Winkworth Collection of Canadiana, 2002. Courtesy of Library and Archives Canada.
Father Moreau (Le Père Moreau), 1921, by Marc-Aurèle de Foy Suzor-Coté. Collection of the Musée national des beaux-arts du Québec, purchased in 1927 (1935.52). Courtesy of the Musée national des beaux-arts du Québec. Photo credit: MNBAQ.
Flayed (Écorché), c.1760, by Edmé Bouchardon. Collection of the École des Beaux-Arts, Paris.
Frontispiece of A Masonic Discourse Delivered at the Installation of the Hon. William McGillivray (Montreal: Thomas Andrew Turner, 1824). Collection of the McCord Stewart Museum, Montreal (M12278). Courtesy of the McCord Stewart Museum.
The Gavazzi Riot in Montreal, 1853, by James Duncan. Musée de la civilisation, collection of the Séminaire de Québec, Quebec City. Courtesy of the Musée de la civilisation.
Honoré Mercier, c.1880, by Jules-Ernest Livernois. Collection of Bibliothèque et Archives nationales du Québec, Montreal, Fonds J.E. Livernois Ltée, Mémoire du monde du Canada – CCUNESCO. Courtesy of Bibliothèque et Archives nationales du Québec.
Hugh Andrew Montagu Allan, Montreal, Quebec, 1866–1867, 1866–67, by the William Notman Studio. Collection of the McCord Stewart Museum, Montreal, gift of Jean-Luc Allard and Lucie Surprenant (M2017.46.2.5139). Courtesy of the McCord Stewart Museum.
In the Orchard (Spring), 1892, by William Brymner. Collection of the National Gallery of Canada, Ottawa, purchased 2002 with the Andrea and Charles Bronfman Canadian Art Fund (41077). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Interior of English, German, and Polish Synagogue on McGill College Avenue, 1890, composite photograph by Rogers Arnott & Sauer. Collection of the Congregation Shaar Hashomayim Museum and Archives, Montreal. Courtesy of the Congregation Shaar Hashomayim Museum and Archives.
Jew’s Synagogue, 1839, by James Duncan. Collection of the McCord Stewart Museum, Montreal, gift of Capt. P. Godenrath (M15949.7). Courtesy of the McCord Stewart Museum.
John Wilkes Esq., 1763, by William Hogarth. Collection of the Metropolitan Museum of Art, New York, gift of Sarah Lazarus, 1891 (91.1.8). Courtesy of the Metropolitan Museum of Art.
Master Hugh Allan, Montreal, QC, 1867, 1867, by William Notman Studio and John Arthur Fraser (painter). Collection of the McCord Stewart Museum, Montreal, gift of Joan Elspeth Bourne (N-1981.16.1). Courtesy of the McCord Stewart Museum.
Merrymaking, 1860, by Cornelius Krieghoff. Collection of the Beaverbrook Art Gallery, Fredericton, gift of the Beaverbrook Canadian Foundation (1959.120). Courtesy of the Beaverbrook Art Gallery.
Miss Danziger, Montreal, QC, 1862, 1862, by William Notman. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (I-2369.1). Courtesy of the McCord Stewart Museum.
Mrs. J.E. Smith’s Children, Montreal, QC, 1869, by William Notman. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (I-41358.1). Courtesy of the McCord Stewart Museum.
Niagara Falls, 1869, by Adolphe Vogt. Collection of the National Gallery of Canada, Ottawa, purchased 1965 (14704). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Noémie, Eugénie, Antoinette, and Séphora Hamel, Nieces of the Artist (Noémie, Eugénie, Antoinette et Séphora Hamel, nièces de l’artiste), 1854, by Théophile Hamel. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase, restoration carried out by the Centre de conservation du Québec (1976.370). Courtesy of the Musée national des beaux-arts du Québec.
Parade on the Opernplatz, Berlin, 1822, 1829, by Franz Krüger. Collection of the Alte Nationalgalerie, Berlin, acquired in 1928 through a dispute with the former ruling Prussian royal house. Courtesy of the Alte Nationalgalerie.
The Pioneer Mill, 1880, by Homer Watson. Royal Collection Trust, Windsor, acquired by Queen Victoria as a gift from the Marquess of Lorne (RCIN 400548). Photo credit: Royal Collection Trust.
Portrait of Annie McFarlane, 1871, by James Inglis. Collection of the National Gallery of Canada, Ottawa. Courtesy of the National Gallery of Canada. Photo credit: NGC.
Portrait of Jeanie McFarlane, 1871, by James Inglis. Collection of the National Gallery of Canada, Ottawa. Courtesy of the National Gallery of Canada. Photo credit: NGC.
Portrait of William Raphael, c.1911, by Sister Marie-Hélène-de-la-Croix. Collection of the Musée de Lachine, gift of the Sisters of Sainte-Anne. Courtesy of the Musée de Lachine. Photo credit: Sisters of Sainte-Anne Historic Centre.
Prince Consort and Freemasons Group, 1877, 1877, by Notman & Sandham, after James Weston. Collection of the McCord Stewart Museum, Montreal (N-1978.109.22). Courtesy of the McCord Stewart Museum.
The Quebec Tandem Club, Champ De Mars, Montreal, c.1840, by James Duncan. Collection of Royal Ontario Museum, Toronto, gift of Dr. Sigmund Samuel (953.186.1). Courtesy of Royal Ontario Museum.
The Rapids, Montmorency River (Les Rapides, rivière Montmorency), 1860, by Otto Reinhold Jacobi. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1936.34). Courtesy of Musée national des beaux-arts du Québec. Photo credit: MNBAQ, Jean-Guy Kérouac.
Right Foot, Drawing Model, second half of the nineteenth century, by an unknown artist. Unknown location.
Sea Trout (Truites saumonées), 1893, by Sister Marie-Hélène-de-la-Croix. Collection of the Musée de Lachine, gift of the Sisters of Sainte-Anne (2008.163). Courtesy of the Musée de Lachine. Photo credit: Sisters of Sainte-Anne Historic Centre.
Self-Portrait, 1910, by Robert Harris. Collection of the National Gallery of Canada, Ottawa, purchased 1913 (580). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Series of medallion portraits, including that of William Raphael, as displayed in the center of the wall in the painting studio of the Sisters of Sainte-Anne, c.1945, photographer unknown.
Shaar Hashomayim Synagogue, 59 McGill College Avenue, Montreal, QC, about 1910–11, c.1910–11, by Wm. Notman & Son. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (VIEW-10763). Courtesy of the McCord Stewart Museum.
Sir Robert Abercromby and W. Dudgeon, Montreal, QC, 1876, 1876, by Willian Notman Studio. Collection of the McCord Stewart Museum, Montreal, purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (II-23851.1). Courtesy of the McCord Stewart Museum.
Sled Race across the Ice, 1861, by Cornelius Krieghoff. Collection of the Montreal Museum of Fine Arts, Lady Allan Bequest (1958.1177). Courtesy of the Montreal Museum of Fine Arts. Photo: MMFA.
The Smoker (Le Fumeur), c.1855–60, by Cornelius Krieghoff. Collection of the Musée national des beaux-arts du Québec, Quebec City (1987.202). Courtesy of the Musée national des beaux-arts du Québec. Photo credit: MNBAQ.
“South Kensington Museum: The Sculpture Hall,” in The Queen’s London: A Pictorial and Descriptive Record (London: Cassell & Co., 1896), page 171.
St. Jean-Baptiste Parade Outside the Montreal Bank, 1872, 1932, by an unknown artist, after William Raphael. Collection of the McCord Stewart Museum, Montreal, gift of George Iles (MP-0000.30.11). Courtesy of the McCord Stewart Museum.
The Steam-ship “Borussia” (screw-propeller). Regular packet between Hamburg and New York, c.1857–72, published by Currier & Ives, New York. Collection of the Mariners’ Museum and Park, Newport News, Virginia (1946.0287.000001). Courtesy of the Mariners’ Museum and Park.
Study of the Head of an Iroquois Chief, Caughnawaga, 1881, by Georges-Édouard-Amable Desbarats, after William Raphael. McGill Libraries, Rare Books and Special Collections, Montreal. Courtesy of McGill Libraries, Rare Books and Special Collections.
Thomas Douglas Harington, 1850–85, by John Henry Walker. Collection of the McCord Stewart Museum, Montreal, gift of Margaret deVolpi (M982.591.24). Courtesy of the McCord Stewart Museum.
W.B. Simpson, Montreal, QC, 1865, 1865, by William Notman. Collection of the McCord Stewart Museum, Montreal (I-17746.1), Purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation and Empire-Universal Films Ltd. (I-17705.1). Courtesy of the McCord Stewart Museum.
William Brymner with his students at the Art Association of Montreal, 1902, by an unknown photographer. Jean-Marie Gauvreau Fonds, Centre de conservation, Bibliothèque et Archives nationales du Québec, Montreal (MSS-002). Courtesy of the Musée national des beaux-arts du Québec, Quebec City.
William Raphael, artist, Montreal, QC, 1862, 1862, by William Notman. Collection of the McCord Stewart Museum, Montreal, Purchase, funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd (I-2362.1). Courtesy of the McCord Stewart Museum.
William Raphael in his studio, Montreal, c.1905. Photographer unknown. Collection of Jonathan Wener, Montreal. Courtesy of Jonathan Wener.
William Raphael’s painting palette, 1879–1914. Collection of the Musée de Lachine, gift of the Sisters of Sainte-Anne (2009.159.17). Courtesy of the Musée de Lachine. Photo credit: Sisters of Sainte-Anne Historic Centre.
William Raphael, painter, c.1890. Photographer unknown. Collection of the McCord Stewart Museum, Montreal, gift of David Ross McCord (MP-0000.2596). Courtesy of the McCord Steward Museum.
Read online or download the ACI’s incredible library of art books for free in French and English. Learn More
Read from Beginning
A painter, art educator, and medical illustrator, William Raphael was the first Jewish artist to establish a professional practice in Canada. Learn More
About the Author
More Online Art Books