These panels are portions of an altarpiece by the school of the Workhop of the Embriachi (Ubriachi), made in North Italy, Venice or Florence, in about 1390-1410. The inset pax is from about 1425-1450.
These panels are evidently part of an altarpiece similar to V&A. Mus. no. A11-1928 or to the example in the Certosa di Pavia referred to in connection with it.
The ensemble has also been associated with a larger set of plaques (117) once owned by the Earls of Crawford. A further set of 89 plaques survive in the Musée des Arts Décoratifs in Paris, and the similarity in size and layout as well as iconography, probably suggest that all three sets of plaques are from the same ensemble, which can only have been a large altarpiece. Along with another suggested group of plaques being part of the whole, this altarpiece would have been the largest known in terms of the number of scenes represented.

The Embriachi workshop was a north Italian family of entrepreneurs and carvers. The precise location of the workshop is unknown, except that it originated in Florence in around probably the 1370s.
Baldassare Embrichi, a member of a Florentine noble family, and the Florentine literary circles, during his career acted as both merchant and diplomat. He was therefore rather the financial means behind the bone-carving workshop that bears his name, rather than its leading artist. By 1395, political and financial circumstances had forced him to transfer to Venice. The suggested time range of activity for the workshop differs, from the tightest being 1390-1405, to a wider span of 1370s until at least 1416, but certainly no later than 1433.

They employed local workers specialising in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry.
As well as altarpieces, the workshop also made caskets as bridal gifts to hold jewels or documents, and these were often decorated with scenes from mythology.