Her second marriage was to John Wooton or Wotton of St. Clere's manor in North Tuddenham, Norfolk,[6][2] (a relative of the Le Strange family of Hunstanton), whom she wed some time before 18 May 1546.

[4] Susan E. James writes of the first of these portraits:This work is powerful in its message, striking in its design and quite possibly the first protest painting to be executed in England.

Dressed as an icon of virtuous widowhood despite her ongoing marriage to Francis Thursby, Mary sits sober and erect in a chair of estate, posed in front of gathered green draperies and a busy tapestry featuring vines of roses, the flower of virtue and, parenthetically, the emblem of the Tudors.

Like Lady Anne Clifford's Great Picture, this work is a memorial to one woman's legal success in the securing of the family estates.

Edwards dates the Wrest Park Portrait to 1545–1549, the early years of her widowhood after the death of her husband,[6] and gives this description:Together the NPG and Ottawa portraits depict the second and third acts of a life-drama involving the execution of Lady Dacre's first husband and her severely reduced circumstances as a young widow, her long and determined struggle to regain lost wealth, lands, titles and status, and the ultimate success of her quest.

Missing from the visual record, however, is the first act of Mary Fiennes’s story: her relative impoverishment as a new widow with three children to support.