Meynnart Wewyck

Surviving documentation associates Wewyck with portraits of several members of the royal family, and with drawings for the tomb of Lady Margaret Beaufort, mother of Henry VII, at Westminster Abbey.

New research published in 2019 has identified a portrait of Lady Margaret Beaufort in the Master's Lodge at St John's College, Cambridge as by Wewyck, and also attributes a painting of Henry VII at the Society of Antiquaries of London to his hand.

In follow-on work, a group of researchers suggests that four surviving portraits of Henry VIII and two of his mother, Elizabeth of York, should also be attributed to Wewyck.

[5] The Scottish royal accounts record the king's gift of 50 French crowns or £35 Scots to "Mynour, the Inglis payntour" on 10 November.

[3][11][12] In 1510 Wewyck was hired by the executors to devise a "table" (painting) and "patrones" (pattern drawings) for Lady Margaret's tomb, to be sculpted by Pietro Torrigiano for Henry VII's chapel in Westminster Abbey.

[1][11][13] One of these records both a typical English variant and Wewyck's own spelling of his name: Md that I Maynarde Vewike of London paynter haue ressayuid the vii daie of February the thrid yeire of the reigne of kynge henry the viij of the Reuerend father in god bushop of Rochester thre poundes sterlyng in parte of payement of A more some for a certen table and ii patrones drawen for my ladie the kynges grandeam' tombe.

He was still alive in 1525; the accounts of Henry VIII record a half-yearly payment to "olde maynerd wewoke paynter" in September of that year.

[18][19] Their confident attribution to Wewyck draws on "new archival, scientific and stylistic evidence", including previously unpublished documents, and concludes that the painting is "[p]robably the earliest known large-scale portrait of an English woman".

As perhaps the first Netherlandish painter to find work at the Tudor court, Wewyck stands at the beginning of a process of the transfer of artistic skills that would dominate the production of painted portraiture in England throughout the 16th century.”[18] That further research occurred rapidly: later in 2019, a group of specialists from the Yale Center for British Art, with support from the National Portrait Gallery, London, and the Hamilton Kerr Institute, Cambridge, initiated a research project at the Denver Art Museum.