A Qajar Mother-of-pearl and ivory inlaid Khatamkari mirror frame signed Muhammad Jafar Shirazi, Persia, 19th century

of rectangular form finely inlaid with mother-of-pearl, ivory, ebony and coloured woods, decorated with an inner border of repeating six-pointed stars with hexagonal centres, and an outer border with inscriptions set in oblong cartouches inlaid in ivory reserved on a dark wood veneer with vestiges of small flowerheads painted in gold, minor bands of micromosaic work

some minor losses, worming and cracking with associated repairs, overall good condition, as viewed
"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."

The long qasidah gives the name Shams al-Dawla as the patron.  According to Dust'ali Khan Mu'ayyir al-Mamalik she was a dear wife of Nasir al-Din Shah and a daughter of Sultan Ahmad Mirza al-'Azud al-Dawla (48th son of Fath 'Ali Shah), who after the murder of Nasir al-Din Shah moved to the holy places in Iraq and died there (Dust'ali Khan Mu 'ayyir al-Mamalik, Rijal-i 'ahr-i Nasiri, Tehran, 1361sh. pp. 18 & 83). 

Signed as: 'amal-e kamtarin muhammad ja'far shirazi

'The work of the most humble (servant) Muhammad Ja'far Shirazi'

He is recorded by Karimzadeh as a designer and a khatam maker, whose father and forefathers were engaged in making khatam in Shiraz.  His only other recorded work is a pair of doors in the iwan of Takht-e Marmar in the Gulistan Palace. (M.A. Karimzadeh Tabrizi, The Lives & Arts of Old Painters of Iran, vol.2, London, 1990, footnote on p. 679).