Artworks
Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 49v: Visitation
Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 49v: Visitation
Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 153: Office of the Dead: Job on top of a dunghill
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 6: Calendar – November, slaughter of an ox
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 119: The three Marys mourning
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 41: Annunciation
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 69v: Adoration of the Magi
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 17: The Holy Ghost in the form of a dove emerges from the clouds and appears to three ladies wearing dresses with the arms of the Beauchamp and Fitzalan/Arundel families
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 80v: Vespers: Funeral of the Virgin with the incredulous Jew
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 137: Virgin with Child; a lady, presumably Beatrice Beauchamp, kneels in front of them, wearing a dress with the arms of the Corbet family
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
fol. 147r: Office of the Dead: Funeral service with animals
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Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
Hide caption
Beauchamp-Corbet Book of Hours, use of Sarum
Manuscript on vellum in Latin and some Anglo-Norman,
illuminated by the Milemete workshop
England, London, 1328
165 x 110 mm, 194 leaves, 39 historiated initials
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Dieses Stundenbuch ist reich mit historisierten Initialen und Bas-de-page-Szenen geschmückt, darunter befinden sich mehrere Figuren, die Schilde mit den Wappen der Familie Beauchamp-Corbet und verwandter Familien halten.
Englische Stundenbücher sind sehr selten, vor allem im Vergleich zu Frankreich. Das Beauchamp Stundenbuch ist das einzige bekannte Exemplar seiner Art im Handel.
Die zwei oder drei Buchmaler, die dieses Buch ausgestattet haben, gehören zur sogenannten Milemete-Gruppe, die in den 1320er Jahren in London tätig war. Diese Werkstatt wurde nach einer Schrift Walters von Milemete für Edward III. benannt. Unsere Handschrift ist vergleichbar mit dem Stundenbuch der Hawisia De Bois. Der Hauptkünstler in beiden Manuskripten ist die Hand II der Milemete-Handschrift und wird auch „De Bois Meister" genannt.
