Mary's portraits and other depictions are mostly subject of heated debate as to if it is really her or somebody else, who draw or painted her or whether the painting is misdated. Confirmed depictions of her include: • Illumination called Henry VII in mourning, c.1503–1504 which also depicts the three surviving children of Elizabeth of York on left side. • Painting called The Family of Henry VII with St George and the Dragon,
Royal Collection, c. 1503–1509 -shows Mary as second girl on right, with strawberry blonde hair. • Illumination of The family of Henry VII with Joachim and Anne meeting at the Golden Gate, done after 1503 -depicts Elizabeth of York with four daughters behind her, all depicted with strawberry blonde hair. • Illuminations of Mary as Queen of France-show her with light red hair. • So-called marriage portrait depicts Mary holding hands with her second husband Charles Brandon • While the identities of the sitters are not questioned, the dating of c.1515 is not accepted unanimously, and later dates have been suggested. Allegedly the version from the collection of the Earl of Yarborough is the original, whilst the
Woburn Abbey version is a copy. Both versions shows Mary with brown hair, probably due to darkening of pigments. • An engraving from 1784 is based upon the same portrait (Royal Collection;
National Trust Collection). Alleged portraits of Mary meant for Charles V include: • Portrait of woman by Michael Sittow, traditionally labelled as
Catherine of Aragon • Mary has been suggested instead, however while initials(K, C or E) would fit her, the author of this reidentification says that Catherine of Aragon had no reason to wear the symbol of scallops(which line the bodice) as they were not her emblem; the pomegranate was. Scallops are a symbol of St. James the Great, patron saint of Spain. Notably, pilgrimage to his shrine in Santiago de Compostela was commemorated by wearing scallops, and it is known Catherine of Aragon made this pilgrimage. The credibility of this reidentification is therefore questionable. • The Magdalen,
National Gallery, London • The painting shows a woman in Spanish clothes wearing jewels of the Crown of Castile, including the emerald necklace depicted on tomb of
Joanna of Castile. Mary has been suggested as a possible sitter. Many believe it is the lost painting of Queen Isabella I of Castile by Sittow, but it is not attributed to him. • Portrait de Marie d'Angleterre in
Musée des Arts Décoratifs, Paris • Possibly depicts same woman as in The Magdalene, in different dress, but with Spanish headwear called cofia de tranzado. Note: on Wikipedia this painting is labelled as by
Jean Perréal, location unknown. However, on the museum's webpage it is not labelled as by him but by anonymous Maître de la Reine Marie Tudor(Master of Queen Mary Tudor). Lost depictions: • Portrait for Louis XII by Jean Perréal • An original portrait upon which the drawing entitled Maria Regina Fra. et D. Suffoltiae in
British Museum is based. • Drawing of Mary while in France, by either Anonymous French Master or Jean Clouet(father of Francois Clouet). • Nobody knows which(if any) of its multiple versions is the original drawing done from life. There are at least five versions: 2 in
Ashmolean Museum, one labelled as by follower of Jean Clouet, and the other by anonymous. 1 in
Uffizi Gallery -labelled as Ritratto di donna(portrait of woman) 3911 F, it is a very crude sketch by Francois Clouet, who was a child when Mary was in France. 2 more versions from Bibliothèque Municipale Méjanes, Aix en Provence. Both bear a 16th-century text(thus most likely to be original). However the picture on Wikipedia of one of them is described as not the real drawing but a print of it. Other suggested depictions: • Westminster Tournament roll 1511-figure next to Catherine of Aragon in gold-red dress ==Ancestry==