The Gallery holds the most extensive collection of portraits in the world. Search over 215,000 works, 150,000 of which are illustrated from the 16th Century to the present day.

Advanced Collection search

Later Victorian Portraits Catalogue

Elizabeth Garrett Anderson (1836-1917), Physician

Paintings, drawings, sculptures and prints

Paintings, drawings, sculptures and printsback to top

Oil on canvas by unidentified artist, whole length aged 2, seated with father, mother and elder sister Louisa; priv. coll. Repr. Manton 1965, facing p.32.

Oil on canvas by Laura Herford, half-length to right, half-profile to right, left hand resting on knee, wearing dark dress with small lace collar; priv. coll.
Monochrome photographs colls NPG, Emery Walker negs, NPG no.2291/15; Wellcome L., London, no. 12278i (ascribed to Swaine); and Women’s L. @ LSE, TWL.2003.609, inscr. ‘Elizabeth Garrett age 30 – from a portrait by Laura Hertford [sic] 1866. The original portrait is owned by the Misses Anderson who kindly gave permission for the photograph, which has been supplied by the Fawcett Library’; and TWL.2000.22. Ref. Manton 1965, p.168; repr. Stephen 1927, p.69; Anderson 1939, frontispiece; and Manton 1965, frontispiece (colour). Painted after Anderson established her first independent medical practice in Upper Berkeley Street and the dispensary for women and children in Seymour Place.
Wood-engraving after the painting, head-and-shoulders, repr. Graphic, 26 Nov. 1870, p.508 (cutting Wellcome L., London, no. 519i). [1]

Design by Godefroy Durand, nearly whole-length, seated profile to left wearing academic gown, facing panel of male examiners, Faculté de Médecine, Paris, spectators to right; untraced. Repr. Monde illustré, 25 June 1870, p.401 (cutting MEPL, London, 10002664).

before 1873
Marble bust by Susan D. Durant (d. 1873); untraced. Exh. RA 1875 (1577); and Victorian Era Exhibition (Women’s Work) 1897 (18a); repr. Victorian Era Exhibition cat. 1897, p.99.

Caricature design by Frederick Waddy, signed lower right ‘FW’, three-quarter-length standing, profile to right, left arm extended, right hand on school table with quill pens and papers, umbrella resting alongside, framed notice ‘LONDON SCHOOL BOARD’ hanging behind; untraced. Repr. Once a Week, 1873, captioned ‘M.D.’; as full-page engr. by W.J. Welsh, Waddy 1873, p.31; and Manton 1965, facing p.223.

Oil on canvas, 1360 x 2150mm, by John Whitehead Walton, The First School Board for London 1870–1873, dated, half-length turned to left, standing, wearing academic gown, holding papers, to centre left of large group (no.13 on key attached to frame) including Emily Davies and Benjamin Waugh; Guildhall AG, London, 4133); ex-coll. London County Council, County Hall, London.

Oil painting by John Singer Sargent; see NPG L254.
Replica copies by Reginald Grenville Eves now (2015) with Royal Free H., London; University College H., London; and BMA, London (see main entry for further details).

Oil on canvas, 458 x 606mm, by Bertha Newcombe, An Incident in connection with the presentation of the First Women’s Suffrage Petition to Parliament 1866, whole-length, standing, wearing crinoline and holding furled parasol, with Emily Davies to left and John Stuart Mill to right; Women’s L. @ LSE, TWL.1998.60. Repr. as monochrome print, 145 x 105mm, c.1930, copy Women’s L. @ LSE, 7BSH/6/4/1; and as postcard, c.1950, Women’s L. @ LSE, 5SPG.c.12.6.

Rejected portrait
Oil on canvas, 615 x 510mm, by unidentified artist, bust-length to front, grey hair, wearing dark dress with small white collar; Wellcome L, London, no. 45521i. Repr. Wright et al. 2006, p. 201.
According to Wellcome L., this work bears ‘printed label on back of stretcher identifying the subject as Elizabeth Garrett Anderson: probably erroneous, but possibly correct in asserting some connection of the portrait with Anderson. The sitter closely resembles a portrait of Isabel Thorne at a later age. … Isabel Jane Thorne (1833/4–1910) was one of the “Edinburgh Seven”, a group of women who attempted to gain professional qualifications in medicine from the University of Edinburgh, led by Sophia Jex-Blake (1840–1912).’

Photographsback to top

Photograph by unidentified photographer, oval, three-quarter-length to left, half-profile to left, looking down, standing, wearing dark cape and skirt, holding closed book, microscope on table to right; known from privately printed publication. [2]

Carte-de-visite by Elliott & Fry, 102 x 62mm, head-and-shoulders vignette, profile to right, hair centre parted with chignon, wearing dark dress and necklace of large beads; NPG x65. Repr. Manton 1965, facing p.80, dated to ‘about 1860’.

?Carte-de-visite by unidentified photographer, head-and-shoulders, half-profile to right, centre parting, wearing dark satin bodice with fabric-covered buttons and narrow white collar; vignette on glass slide coll. Suffolk Record Office, Ipswich, HA436/4/2/4.

Carte-de-visite by unidentified photographer, half-length, half-profile to left, right elbow resting on table, right hand to chin, wearing dark dress buttoned to neck; prints Women’s L. @ LSE, TWL 2000.21.

Photographs by Caldesi & Co., wearing dark velvet garment with satin trim, small collar with circular brooch at neck, three or four known poses:
(a) half-length to right, looking to right, left hand to chin, right hand touching book on table, wearing dress with ruched trim; repr. Crawford 2002, pl.1; and Boyd 2005, pl.12, captioned ‘the year she became Britain’s first woman doctor’, both credited to Royal Free H. Archives Centre.
(b) three-quarter-length to right, seated at table, studying open book; repr. Manton 1965, pl.7a, captioned ‘In 1870: the photograph she wished to show to James Skelton Anderson’.
(c) albumen carte-de-visite, 89 x 56mm, head-and-shoulders vignette, half-profile to right, hair centre-parted, hair braided at nape; NPG x197056.
(d) head-and-shoulders, profile to right; slide Suffolk Record Office, Ipswich, HA436/4/2/4. This may be derived from pose (c).
Ref. Manton 1965, p.210, ‘some new photographs of herself from Caldesi, the Pall Mall photographers’, paraphrasing letter from Anderson to her husband-to-be, 23 Dec. 1870. [3]

?Carte-de-visite by Caldesi & Co., whole-length, profile to right, seated, left hand to chin, right hand on lap, James Skelton Anderson half-seated on table to right; glass slide Suffolk Record Office, Ipswich, HA436/4/2/5. Repr. Manton 1965, pl.7b; and Glynn 2008, pl.9, described as ‘engagement photograph’.
In Jan. 1871 Anderson sent her future father-in-law two photographs ‘as soon as I had them from Caldesi’. [4]

Platinum print by Frederick Hollyer, half-length, back to camera, profile to right; prints colls V&A, London, 7809-1938, where indexed as ‘Portrait of Mrs E. Garrett Anderson, Portraits of many persons of note photographed by Frederick Hollyer, Vol. 3.’); Getty Images, 3324962; and Women’s L. @ LSE, TWL.3003.611.

Photograph by unidentified photographer, half-length, looking to left, seated, left elbow resting on table, wearing dark velvet bodice with large low-cut lace collar and matching cuffs; Royal Free H., London. Repr. Crawford 2002, pl.23 (‘in her prime – wife, mother, doctor, dean’), where credited to Royal Free H. Archive; and on Royal Free International website.

Photograph by unidentified photographer, half-length standing, turned to left with arm round waist of daughter Louisa; Suffolk Record Office, Ipswich, HA436/4/1/1. Repr. Anderson 1939, facing p.196, ‘aged 40’; Manton 1965, pl.8b, ‘with Louisa after the death of [daughter] Margaret [December 1875]’; and Glynn 2008, pl.13.

Snapshot (soft-focus image) by unidentified photographer, half-length, profile to right, seated in front of window, wearing dress with wide check pattern and lace collar; glass slide Suffolk Record Office, Ipswich, HA436 /4/2/9. Repr. Manton 1965, pl.10, described as ‘in middle life’.

publ. 1889
Carbon print, 245 x 180mm, by Walery [Stanislas Julian, Count Ostrorog], inscr. ‘yours faithfully’ with sitter signature, nearly whole-length, profile to left, seated at small table, right elbow on table, right hand to forehead, left hand holding open book, wearing striped blouse under pale-coloured costume; publ. Feb. 1889 by Sampson Low & Co.; prints colls NPG x8446; Wellcome L., London, no.12277i; and LMA, H13/EGA/159/3. Repr. Anderson 1939, facing p.230 (‘aged 54’); and Cherry & Walter 2002, pl.1.

Photograph by unidentified photographer, probably whole-length, standing wearing academic gown in courtyard of London School of Medicine for Women. Ref. Manton 1965, p.306 (‘the Dean was photographed, a small but intensely dignified figure in academic dress, standing under the arches of the garden cloister’).

Press photographs by unidentified photographer on the occasion of her installation as mayor of Aldeburgh, Suffolk, Nov. 1908, whole-length, wearing dark clothes and mayoral chain, walking in procession, two known poses:
(a) walking to right behind town clerk and in front of large crowd; see Wikimedia Commons, where dated to 14 Nov. 1908.
(b) walking to left, behind clergyman and in front of policeman; Women’s L. @ LSE, TWL.2009.02.014.

Photograph by Topham Picturepoint, half-length to front, seated behind desk wearing black velvet hat; Topfoto, 0006197. Repr. in unidentified newspaper, 14 Nov. 1908, captioned ‘Mrs Elizabeth Garrett Anderson, the Mayor of Aldeburgh, Wearing her Badge of Office’.

Photograph by unidentified photographer, whole-length in mayoral robes, descending steps of Moot Hall, Aldeburgh, young girl wearing large hat standing with back to camera in foreground; cropped version on glass slide Suffolk Record Office, Ipswich, HA436/4/2/10. Repr. Crawford 2002, pl.73, where credited to Hew Stevenson; and Glynn 2008, pl.17.

Copy photograph by unidentified photographer, whole-length walking along Aldeburgh High St, wearing sealskin and sable cape; Women’s L. @ LSE, 7LGA/6/23.

Photograph by Daily Mirror, whole-length walking on beach at Aldeburgh with two women and a boy; LMA, H13/EGA/156/5.

Photographs by (Mary) Olive Edis (Mrs Galsworthy), wearing dark dress with dark fingerless gloves under a large pale lace shawl, and lace head-dress, four known poses:
(a) bromide print, 152 x 103mm, three-quarter-length, half-profile to right, seated in high-backed chair, hands folded; prints colls NPG x66; and LMA, H13 EGA/159/5; glass slide Suffolk Record Office, Ipswich, HA436/4/2/11). Repr. Anderson 1939, facing p.270, ‘aged 73’.
(b) bromide print, 152 x 104mm, three-quarter-length, standing, smiling to camera, holding open book; NPG x317.
(c) glass plate negative, three-quarter-length, half-profile to right, holding open book towards right, plain background; Norfolk Museums Trust, CRRMU: 2008.14.1503 (dated Apr. 1909). Repr. as oval vignette Brook 1997, cover.
(d) bromide print, three-quarter-length, looking down, holding open book at chest height, blank background; Norfolk Museums Trust, CRRMU: 2008.14.1975.11.

Photograph by unidentified photographer, whole-length to left, standing wearing mayoral robes and hat, with scoutmaster and row of scouts to left; glass slide Suffolk Record Office, Ipswich, HA436/4/2/8. Repr. Manton 1965, facing p.337, captioned ‘Mayor of Aldeburgh inspects the Boy Scouts in 1910’.

Snapshot by unidentified photographer, whole-length profile to left, walking to left, wearing short cape with deep fur trim (as in images from 18 Nov. 1910 below); Women’s L. @ LSE, 7LGA/6/23, inscr. on reverse ‘EGA in her seal-skin cape walking down Aldeburgh High St not far from the shop with the amber ship in the window’.

Photograph by unidentified photographer, whole-length, wearing fur-trimmed cape, seated on platform beside Emmeline Pethick-Lawrence, Emmeline Pankhurst and about 30 other women at a Women’s Suffrage meeting, Caxton Hall, London, 18 Nov. 1910; postcard print M. of London, 50.82/1358.

Bromide press prints by unidentified photographer, 18 Nov. 1910, two known poses:
(a) whole-length standing, wearing fur-trimmed cape over coat and long skirt, outside Palace of Westminster, Emmeline Pankhurst standing to right, unidentified man to left; NPG x32106.
(b) similar to (a) with police sergeant to left; repr. Manton 1965, facing p.336.

Postcard prints by Alfred Barrett, Fleet St, London, taken 18 Nov. 1910 outside Palace of Westminster with Emmeline Pankhurst and others, two known poses:
(a) walking between lines of police towards palace; Women’s L. @ LSE, TWL.2009.02.96.
(b) in front of police officers and doors; Women’s L. @ LSE, TWL.2009.02.017. Repr. Pipe 1999.

Photograph by Newspaper Illustration Ltd, whole-length walking towards camera between daughter Louisa (right) and Alfred Caldecott (left) on way to or from meeting at 10 Downing St, 8 Aug. 1913; Women’s L. @ LSE, 7JCC/0/02/006a–b, with typed caption ‘“Wait and See” / The proverbial patience of women has been rewarded and the Premier’s famous intervention “wait and see” has been proved by his consenting to receive a deputation this morning on Women’s Suffrage’.

1) The accompanying article (Graphic, 26 Nov. 1870, p.513) relates Anderson’s career to date, and concludes with information about Herford, who ‘died suddenly a month ago’.
2) Our thanks to Elizabeth Crawford for this and other information.
3) ‘Since writing this some photos have come from Caldesi’s on wh. I will extract an opinion the next time I see you. They are less repulsive I think than any done before, but one does not judge well for oneself. Caldesi is anxious to sell them and I have always refused but if either of these is creditable it might perhaps save trouble and give some people a little pleasure to allow it’ (letter from E. Garrett to J.S. Anderson, 23 Dec. 1870, Women’s L. @ LSE, 1939/NoAccNo01).
4) Letter from E. Garrett to C. Anderson, 16 Jan. 1871, enclosing two duplicates and adding: ‘Skelton thinks the one looking up flatters me. Most of my other friends prefer the other one. There were none in existence when you asked for them, as I had always refused to sit. So you must forgive us for the delay’ (Suffolk Record Office, Ipswich, HA436/1/23/6). If this refers to engagement photos, which seems likely given the date, it implies the existence of two joint poses. It further implies that the Caldesi sequence of solo shots was prompted by friends’ requests in late 1870.

Dr Jan Marsh