Spanish or Italian, 14th century

As is to be expected with a functional medieval object there is wear and there are various losses to the portable altar. Five of the ivory edges are lost, together with their ebony dividers. The bone intarsia has lifted in areas but is stable. There are slightly open joints around the marble section, which is a little loose and should be handled with caution. There are various minor scratches and abrasions to the intarsia. Some of the joints of the intarsia have opened but are stable, notably on two sides of the front. There is a stable split running through the underside of the altar. There is a small door to the underside, possibly for a relic. Part of this door is lost. There is wax sealing the remnants of the door. There is dirt to the ivory inlay. The back of the altar is painted red. There are scratches to the marble top.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the Middle Ages many Priests were itinerant but nevertheless had to observe Communion wherever they were located. Portable Altars, which could be easily transported and stowed away during travel were an ideal solution. Many were beautifully crafted from valuable materials, see, for example, the 11th-century porphyry Portable Altar in the Cluny Museum (inv. no. Cl. 13072). The present example is centered on a beautiful veined purple marble, offset with intarsia work reminiscent of the North Italian Embriachi workshop, but which may possibly be Spanish workmanship (see Williamson and Davies, op. cit.).

RELATED LITERATURE
Musée national du Moyen Age Thermes de Cluny, Paris, 1993, p. 76, nos. 79-80; M. Bagnoli and H. Klein, Treasures of Heaven: Saints, Relics, and Devotion in Medieval  Europe, exh. cat. British Museum, 2011, p. 86; P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550, cat. Victoria and Albert Museum, London, 2014, pp. 749-861