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In 1899 Irish suffragist Dorothea Roberts gave Bedford College a portrait of Millicent Fawcett (1847–1929) by the artist Theodore Blake Wirgman (Fig. 1).1 That year Fawcett accepted an honorary LLD from the University of St Andrews, one of the first honorary degrees awarded to a woman, and Roberts’s donation thus marked an important celebratory moment for the women’s higher education movement. As a gift to one of the earliest women’s colleges in the country, the portrait joined a growing collection of portraits of pioneering professional women at Bedford College. The art collections at the newly established women’s colleges heralded a new kind of collector: collectives of educated women, staff, students, and alumnae. These women were not necessarily wealthy individuals, but as collectives they could commission artworks through the intricate networks that threaded between the different institutions promoting higher education for women. Some context is required to understand the circumstances by which these pioneering groups of university-educated women came to commemorate their history through their art collections. The movement for university

New Collections for New Women: Collecting and Commissioning Portraits at the Early Women’s University Colleges