The history of Quebec House

James Wolfe: military life and reputation

James Wolfe received his first commission at just 14 and remained a career soldier until his death. By his early twenties he had already fought in the War of the Austrian Succession (1740–48) and against the Jacobite Rising of 1745–46, gaining a reputation for discipline, courage and promise. His rise was swift: appointed brigadier general at 31, he was promoted to major general the following year and given command of the expedition to Quebec.

Wolfe's leadership during the Seven Years’ War, particularly at the Battle of Quebec, brought him widespread recognition and lasting commemoration in Britain and Canada. Admired for his decisiveness, courage under fire and sense of duty, he came to be regarded as a model of military virtue. While his legacy is closely associated with British imperial expansion, Wolfe’s career continues to be studied for its strategic insight and for the pivotal role he played in shaping the course of North American history.

The Battle of Quebec and the Seven Years’ War

The Seven Years’ War (1756–63) was a global conflict involving most of the major European powers, with theatres of war stretching across Europe, the Caribbean, India and North America. In North America, the war centred on the rivalry between Britain and France for territorial control, with both sides forming alliances with Indigenous American nations.

In 1759, Wolfe led British forces in a high-risk campaign to capture the French-held city of Quebec. His troops made a daring night-time ascent of the cliffs overlooking the St Lawrence River and confronted French forces on the Plains of Abraham. Wolfe was mortally wounded during the battle, but the British victory proved decisive, ultimately leading to the fall of Quebec and shifting the balance of power in North America in Britain’s favour.

The Death of Wolfe and its legacy

The painting The Death of General Wolfe by Benjamin West became one of the most iconic images of the 18th century. Several copies are displayed at Quebec House. West’s painting mythologised Wolfe’s death, presenting it in the style of a martyrdom. It contributed to a popular imperial narrative that celebrated British military success and sacrifice.

The First Nations figure in The Death of Wolfe is not based on any one person or eyewitness account. While Indigenous warriors fought on both sides during the Battle of Quebec - mostly alongside the French - the painting shows just a single figure, quietly observing the scene. His pose and appearance reflect European ideas of the ‘noble savage,’ and give the impression that Indigenous people supported Britain. In reality, many First Nations had longstanding alliances with the French and were deeply affected by the outcome of the battle. The painting turns a complex history into a symbol of British victory, showing Indigenous people as silent witnesses rather than active participants. It leaves out the lasting impact the war had on Indigenous communities - such as loss of land, broken alliances, and reduced influence in their own territories - stories that have often been overlooked in traditional accounts of the war.

19th and early 20th-century changes

In the mid nineteenth century the house was split into two dwellings. In the 1880s one part was used by Quebec House School. By the early 20th century, the house had returned to single ownership under Charles Warde (1845–1937), Conservative MP for Medway. Warde was linked to Squerryes Court, the long-standing seat of the Warde family. His ancestor General George Warde (1725–1803) had been James Wolfe’s closest childhood friend and, like Wolfe, went on to a distinguished military career.

Memorialising Wolfe

In 1907, Charles Warde leased Quebec House to Canadian journalist and historian Henry Beckles Willson (1869–1942), who used the house while researching his biography The Life and Letters of James Wolfe, published in 1909. Willson’s work helped renew public interest in Wolfe’s life and achievements.

A statue of Wolfe was unveiled in Westerham in 1911, funded by public subscription and officiated by Field Marshal Earl Roberts.

In 1913 the house was purchased by Montreal businessman Joseph Bowles Learmont (1839–1914), who hoped to preserve it as a memorial to Wolfe. After his death it passed to the National Trust in 1917, with his widow, Charlotte Learmont (1845–1934), playing an important role in carrying out his wishes.

Quebec House today

Today, the National Trust is deepening its understanding and interpretation of Quebec House, with a focus on presenting a fuller and more inclusive history. Current projects include research into the representation of the First Nation figure in Benjamin West’s The Death of Wolfe, undertaken in collaboration with First Nation American partners. Alongside this, new multisensory interpretation, incorporating touch, scent and taste, is being developed to engage visitors in new and immersive ways.