λ A QAJAR MICRO-MOSAIC KHATAMKARI NÉCESSAIRE BOX (MAJRI)
Possibly Shiraz, Iran, second half 19th century

Of rectangular shape, resting on a stepped black base, each side intricately worked in geometric juxtapositions of stained wood, brass, mother-of-pearl, bone and ivory tesserae, the veneering all levelled, the box further enhanced with slightly stepped and raised ivory frames, the curved hinged lid with vertical opening on the short side, revealing a rectangular khatamkari mirror frame swinging to support the lid at an angle, the interior lined with burgundy velvet, the sides similarly decorated with raised cartouches bordered by ivory panels, the short side on the front with a long drawer divided into nine sections of different sizes, painted in green and black, the wooden edges with orange and gold decorations, both openings with small ivory knobs, 39cm x 29.5cm x 14cm, inside depth of drawer 3cm.

The decorative techniques of micro-mosaic and veneering were known in Iran since at least the 14th century, and it has been speculated they came from China (G. Fellinger, L'Empire des Roses, Louvre Lens, 2018, p. 322). However, it was not until the reign of Nasir al-Din Shah (r. 1848 - 1896) that khatamkari techniques became fully mastered and led to perfection by Iranian marquetry masters. The renewed interest in these decorative techniques brought an unparalleled expansion in the variety of forms and motifs. The main centres of production of this articulate artform were Shiraz, Isfahan and later on, Tehran.

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