Other well provenanced examples include pairs of mounts from Welwyn (Hertfordshire), Aylesford and Alkham (both Kent) and a singleton from Thealby (Lincolnshire) (Powell 1966, 225; James & Rigby 1997, fig.19; Jope 2000, pl. 182i). There is also a poorly recorded example from the 'River Ribble' thought to have been found at Ribchester (Lancashire) (MacGregor 1976, ref. 316). All these mounts are dated to the early first century AD. James, S. & Rigby, V. 1997. Britain and the Celtic Iron Age, figure 19; Jope, E. M. 2000. Early Celtic Art in the British Isles, plate 182i; MacGregor, M. 1976. Early Celtic Art in North Britain, ref. 316); and Powell, T. G. E. 1966. Prehistoric Art, page 225

Additional notes by Reb Ellis:

This appears to be the only exclusive combination of a human and bird in metalwork in England and Wales. Based on this fitting type, it is unlikely to be from any period earlier than 50BC, and more likely dates to the first century AD (if not a little later). Another parallel in Romano-Celtic imagery can be seen in the stone relief of a bearded male, with a raven atop each shoulder and a dog at his feet, from Moux in Burgundy (see Green 1992).

Another important aspect of this piece is the uneven nature of the depiction of the human eyes. If intentional by the artist, then this echoes descriptions of the later Germanic or Norse deity Odin (see Hedeager 2015). Examples of uneven eyes in the depiction of humans of Iron Age or early Romano-British date can be seen elsewhere (e.g. SUR-204E7E), though have not yet been thoroughly studied so further comments cannot be made at this time.

The use of corvids in art appear to be heavily restricted to focus mainly, though not exclusively, on bucket fittings. Taken in association with contemporary evidence of corvid remains (see Serjeantson and Morris 2007), it appears as though this animal may have had ritualistic significance. However, it is impossible to say if they represented anything else given fragmentary evidence. Uses on buckets appear to relate to the use of these vessels within Iron Age society as vehicles of social communication, though again specifically what is impossible to identify with any certainty (Ellis 2022 forthcoming).

References:

Ellis, R.L (2022) Ducks, corvids and buckets: Birds in the La Tène period art of England and Wales (forthcoming).

Green, M. (1992) Animals in Celtic Life and Myth. London: Routledge.

Hedeager, L. (2015) For the Blind Eye Only? Scandinavian Gold Foils and the Power of Small Things. Norwegian Archaeological Review, 48(2), 129-151.

On closer inspection this item is not a horned human, but a human head flanked by two corvids, as identified with the tiny spherical eye. This appears to be the only exclusive combination of a human and bird in metalwork in England and Wales. Based on this fitting type, it is unlikely to be from any period earlier than 50BC, and more likely dates to the first century AD (if not a little later). Another parallel in Romano-Celtic imagery can be seen in the stone relief of a bearded male, with a raven atop each shoulder and a dog at his feet, from Moux in Burgundy (see Green 1992).

Another important aspect of this piece is the uneven nature of the depiction of the human eyes. If intentional by the artist, then this echoes descriptions of the later Germanic or Norse deity Odin (see Hedeager 2015). Examples of uneven eyes in the depiction of humans of Iron Age or early Romano-British date can be seen elsewhere (e.g. SUR-204E7E), though have not yet been thoroughly studied so further comments cannot be made at this time.

The use of corvids in art appear to be heavily restricted to focus mainly, though not exclusively, on bucket fittings. Taken in association with contemporary evidence of corvid remains (see Serjeantson and Morris 2007), it appears as though this animal may have had ritualistic significance. However, it is impossible to say if they represented anything else given fragmentary evidence. Uses on buckets appear to relate to the use of these vessels within Iron Age society as vehicles of social communication, though again specifically what is impossible to identify with any certainty (Ellis 2022 forthcoming).

References:

Ellis, R.L (2022) Ducks, corvids and buckets: Birds in the La Tène period art of England and Wales (forthcoming).

Green, M. (1992) Animals in Celtic Life and Myth. London: Routledge.

Hedeager, L. (2015) For the Blind Eye Only? Scandinavian Gold Foils and the Power of Small Things. Norwegian Archaeological Review, 48(2), 129-151.

Serjeantson, D. and Morris, J. (2022) Ravens and Crows in Iron Age Britain. Oxford Journal of Archaeology, 30(1), 85-107.