Early 19th-century half-calf gilt binding, with lettered spine: the volume contains both the text of the Shahnama, in the central text block, and Nizami's Khamsa in the margins. The information recorded here refers only to the Shahnama.
The ms. begins with the 'old' preface to the Shahnama, f. 1v; the poem starts on f. 7v and the second book, with the reign of Luhrasp, on f. 359v. Each of these pages contains an illuminated heading. These are in the un-outlined style associated with Muzaffarid Shiraz of second half of the 15th century. The colophons contain no details - the final page is a modern replacement. The text includes the Barzunama, following the story of Bizhan and Manizha.
The ms. contains 42 miniatures, 2 preliminary sketches and 11 blank spaces, indicating an original intention to include 55 paintings. The pictures are all very rubbed and damaged.
Robinson identifies two artists at work, Painter A was probably an Indian, his primitive and naïve style recalling Jalayirid work, as especially evident from his palette (oranges and mauves). Painter B is 'unquestionably Persian' and a competent artist who may have helped illustrate the Teignmouth Shahnama later. Either he was a Persian artist visiting India, or an Indian more attuned to Shirazi Timurid style.
Eleanor Sims indicates either Southern Iran or Western India as the place of production.
B.W. Robinson, Persian paintings in the John Rylands Library, pp. 97-110, with 24 b/w illustrations