This portrait used to be hung in Saengsadang which was erected by seoris ("low-ranking local official") of Pyeongyang for paying tribute to Yi Wonik’s achievements. This seems to have been painted in about 1595 when he was appointed to the Uuijeong (no. 3 prime minister). Taking into account that the record on the scroll of the portrait is consistent with the passage in Orijip, read as "Seogiseongsaengsacheolhwandosangbaehu (書箕城生舍撤還圖像褙後)," it seems to provide reliable background information about the portrait. Characteristically, the figure is holding a fan with his right hand and putting his left hand on the belt. This portrait is also characterized by the mat on the floor. Because these features are usually representative of portraits of Buddhist monks, the portrait of Yi Wonik is assumed to have been painted by a Buddhist monk painter. This was designated as the tangible cultural property No. 80 of Gyeonggi-do on October 10, 1978.

This draft is considered to be a draft of the Hoseonggongsindosang, or a distinct one. The note on the draft, "Manryeoksamsipinyeon Gapjincho Wanpyeongbuwongun Yi Hwasangcho (萬曆三十二年 甲辰草 完平府院君 李 畵像草)," clarifies that it was drawn in 1604 (37th year of King Seonjo’s reign). The sharp cut marks on both shoulder lines and the upper part of the embroidered patch demonstrate that the original draft depicted only the upper half of the body. Moreover, considering that this draft is similar to the Hoseonggongsindosang, it seems to have been a draft of the portrait or a copy of the original draft in the later years. In sum this draft of portrait of Yi Wonik was completed by adding the lower half of the body later to the original draft. According to Hoseongseonmucheongnangongsindogamuirye (扈聖宣武淸難功臣都監儀軌), kept in the Gyujanggak of Seoul National University, a painter draws a draft of the face of a figure, and, after that, meets the client for painting the rest of the body. That is, there are two stages for creating a portrait painting: preliminary and main stages. For this reason, the draft of portrait of Yi Wonik can be recognized as a valuable work of art which shows the painting process of portraits of officials.

During the Japanese Invasion of Joseon in 1604 (37th year of King Seonjo's reign), Yi Wonik was in attendance on the king. This portrait was painted when he was honored as Hoseonggongsin, a meritorious retainer, in recognition of his service. Despite his many distinguished military services, he courteously declined to receive other bigger honors. Meritorious retainers were awarded portraits as well as honorary titles and certificates of merit in the Joseon Dynasty. Regrettably, Yi Wonik's certificate of merit was not handed down in the jongga ("house of the head family"). This portrait well reveals the characteristics of portraits of officials painted in the early seventeenth century. This portrait of Ori Yi Wonik has been designated as Treasure No. 1435.

This portrait is believed to have been painted when Yi Wonik was a grade-1 civil official because the embroidered patch is decorated with a pair of peacocks and peony blossoms. This portrait is severely damaged, and so only the upper part of the body and the foot stool are left. A characteristic of this portrait is that the stool is much higher than those shown in other portraits of officials. This characteristic is suggestive of his short stature, which made him widely called 'small prime minister.' More detailed investigation is needed to clarify the relation between this portrait and the Hoseonggongsindosang.

This portrait is a copy of the Hoseonggongsindosang of Yi Wonik painted in spring 1663 (fourth year of King Hyeonjong’s reign). The year is clearly shown in the record written on its right side, saying, "Uijeongbu Wanpyeongbuwongun Munchunggong Oriseonsaenghwasang Gyemyochunimyo (領議政 完平府院君 文忠公 梧里先生畵像 癸卯春移摹)." It is not clearly known why the Sosuseowon copied the Hoseonggongsindosang, but this copy may contribute to the understanding of his influence in the Yeongnam region.

This is a portrait of Yi Wonik, which is considered to have been painted in the latter half of the 17th century. The parallel arrangement of the cloth for lining and the cheollic ("a kind of official uniforms") shown through the opening part of his danryeong ("official outfit with a round collar") is the salient trait of the portraits painted in the latter half of the 17th century. This was purchased by the National Museum of Korea from one of his descendants in 1970.