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Deepeeka Sutton Hoo buckle, brass
This is a very detailed reconstruction from the Great gold Buckle from Sutton Hoo. The original was buried in the early 7th century with its owner in a ship-burial, together with several artefacts, such as the famous Sutton Hoo helmet. It is currently on display in the British Museum in London. The buckle is made of brass. It is delivered including rivets and washers for fastening.
Length: 12,5 cm
Max. width: 5,5 cm
Suitable for a max. belt width of: 4 cm
Weight: ca. 200 g
Based on a historical original
Transport weight (gram): 500 *
This item is produced in limited quantities only. This means that every piece is unique. Sizes & finish may vary lightly from piece to piece.
Material: brass / / Length: 12,5 cm / / Max. width: 5,5 cm / / Suitable for a max. belt width of: 4 cm / / Weight: ca. 200 g / / Based on a historical original
Sutton Hoo buckle, brass
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The Sutton Hoo purse lid
Wealth, and its public display, was probably used to establish status in early Anglo-Saxon society much as it is today. The purse lid from Sutton Hoo is the richest of its kind yet found.
Sutton Hoo shoulder-clasps (Early Anglo-Saxon), late 6th–early 7th century, gold, millefiori, and garnet, 5.4 x 12.7 x .5 cm (The British Museum) (photo: Steven Zucker, CC BY-NC-SA 2.0)
The lid was made to cover a leather pouch containing gold coins. It hung by three hinged straps from the waist belt, and was fastened by a gold buckle. The lid had totally decayed but was probably made of whalebone—a precious material in early Anglo-Saxon England. Seven gold, garnet cloisonné and millefiori glass plaques were set into it. These are made with a combination of very large garnets and small ones, deliberately used to pick out details of the imagery. This combination could link the purse-lid and the fine shoulder clasps, which were also found in the ship burial, to the workshop of a single master-craftsman. It is possible that he made the entire suite of gold and garnet fittings discovered in Mound 1 as a single commission.
Decorative plaques (detail), Purse lid from the Sutton Hoo ship burial, early 7th century, gold, garnet and millefiori, 19 x 8.3 cm (excluding hinges) (The British Museum) (photo: Steven Zucker, CC BY-NC-SA 2.0)
The plaques include twinned images of a bird-of-prey swooping on a duck-like bird and a man standing heroically between two beasts. These images must have had deep significance for the Anglo-Saxons, but it is impossible for us to interpret them. The fierce creatures are perhaps a powerful evocation of strength and courage, qualities that a successful leader of men must possess. Strikingly similar images of a man between beasts are known from Scandinavia.
G. Williams, Treasures from Sutton Hoo, (London, British Museum Press, 2011).
The buckle or clasp was used in medieval times to fasten two loose ends of a belt or piece of clothing. Buckles were one of the most dependable accessories of the time.
Buckles were popular among Roman soldiers and were sometimes decorated with dolphin and horse heads. Throughout the Middle Ages, buckles were used mostly for ornamentation – until the 14th century, when we see the emergence and prime of the knightly belt and buckle.
Until the 15th century, buckles were almost exclusively worn by the wealthy. It wasn’t until manufacturing techniques made them possible to produce using moulds that they became available for the general population.
Medieval buckles were made of metal such as bronze, brass, silver, wood, leather (or dried suede) and/or pearl – the last two usually for ladies’ dresses. Iron was not a preferred material as it could rust when exposed to damp conditions. There are several examples of beautifully decorated buckles from archaeological finds and historical documents.
History of the Buckle
The Middle English word “buckle” originates from the Old French and Latin “buccula” (meaning cheek strap).
Roman soldiers used buckles to strap their body armor together, especially on the balteus and cingulum (belts to carry the short sword or gladius and the dagger or pugio). These buckles were usually made of bronze and appreciated for their functionality and durability – although they were used for clothing, their purpose was mainly military. Some Roman buckles were decorated with dolphin and horse heads. The roman Type I buckle was a plate with geometric ornaments, while the Type IA were long and narrow, and the IB buckle-loops.
Scythian and Sarmatian buckles incorporated more animal motifs that usually represented them in mortal combat. Many were imported by Germanic peoples and are today found in the graves of Franks and Burgundies.
In early Anglo-Saxon England, buckles were used to fasten waist belts as well as to express a person’s wealth and status. An example of a spectacular design can be found at the Sutton Hoo shop burial. Constructed from several separate pieces, the gold body forms a hinged box with a triple-lock mechanism.
Mike's ModelingThe Sutton Hoo burial was discovered in 1939 after exploration of largest burial mound at Edith Pretty's estate at Suffolk. Inside the mound, the imprint of a 27-metre-long, decayed ship, studded with iron rivets containing burial chamber was found. The burial took place in early AD 600s, when Sutton Hoo belonged to East Anglia, one of competing Anglo - Saxon kingdoms. Sutton Hoo is the most significant find from early medieval Europe, also the richest, containing many artifacts of exquisite craftsmanship, probably commemorating a person of extreme wealth or high status, possibly an Anglo-Saxon King of East Anglia.
Sutton Hoo helmet is one of just four complete helmets discovered from Anglo-Saxon England. Reconstructed from shattered condition in which it was found. The helmet consists of an iron cap with a crest, neck guard, cheek pieces and face mask. It was originally covered with tinned copper alloy panels, decorated with animal and warrior motifs. Similar helmets are known from eastern Sweden, what indicates traditions and culture being shared with East Anglia. Small number of such helmets suggests those of great wealth an status could only afford them.
In early Anglo-Saxon England swords were the most prized weapons of all, being given as gift from lords and passed as heirlooms. Sutton Hoo sword (also replica of the edge is displayed) is the finest from the period, double bladed, iron edge fitted with gold hilt pieces, decorated with garnets imported from southern Asia, set into gold cells.
Sixteen pieces of silver tableware found within the burial are from Byzantine Empire, reaching Sutton Hoo through gift exchange between rulers of Europe, bringing Bizatine luxuries to Frankish realm and onwards to Anglo-Saxon England. At early Anglo-Saxon times silver tableware was a display of status or royal treasure, as wood or horn were used instead.
Two drinking horns were reconstructed, with original gilded silver mounts and depict interlacing beasts and human faces. Tips are shaped like fierce birds' heads. The horns probably came from an aurochs, a large type of ox, which may have been imported from the Continent. Each horn held about two litres of mead or ale and may have been passed around in feasting rituals.
The form of the long carved whetstone and glittering shoulder-clasps evoke Roman symbols of authority, possibly a deliberate attempt to associate Anglo-Saxon owner with the might of the old Roman Empire.
Shoulder-clasps displayed the power and authority of the wearer. Similar to those used in Roman forms of military dress, attached to a thick or padded garment using loops at the back. Made in two halves each one is decorated with cells inlaid with garnets and patterned millefiori glass. They are hinged around central animal-headed pin and shaped to fit the shoulder.
© Trustees of the British Museum
One of the most famous early Anglo-Saxon cloisonne pieces is the Sutton Hoo purse-lid. Wealth and its public display were probably used to establish status in early Anglo-Saxon society much as it is today.
This purse lid is the richest of its kind yet found. The lid was made to cover a leather pouch containing gold coins. It hung by three hinged straps from the waist belt and was fastened by a gold buckle. The lid had totally decayed but was probably made of whale-bone ivory – a precious material in early Anglo-Saxon England. Seven gold, garnet cloisonne, and millefiori glass plaques were set into it. These are made with a combination of very large garnets and small ones, deliberately used to pick out details of the imagery. This combination could link the purse-lid and the shoulder-clasps to the workshop of a single master craftsman, who may well have made the entire suite of gold and garnet fittings as a single commission.
The plaques include twinned images of a man standing heroically between two wolves and an eagle swooping on its prey. These images must have had deep significance, but it is impossible for us to interpret them. The wolves could be a reference to the dynastic name of the family buried at Sutton Hoo – the Wuffingas (Wolf’s People). Like the eagle, they are perhaps a powerful evocation of strength and courage, qualities that a successful leader of men must possess. Strikingly similar images of a man between beasts are known from Scandinavia.
R.L.S. Bruce-Mitford, The Sutton Hoo ship burial-2, vol. 2: arms, armour and regalia (London, The British Museum Press, 1978)
A.C. Evans, The Sutton Hoo ship burial, revised edition (London, The British Museum Press, 1994)
Sutton Hoo Ship Burial (video)
Video (PageIndex<2>): The Sutton Hoo Ship Burial (early Anglo-Saxon) at The British Museum including: Buckles and assorted pieces, Sword belt, Helmet, Great Gold Buckle, Purse Lid, Shoulder-clasps, early 7th century, gold, millefiori, and garnet as well as Bowl and spoons (Byzantine), c. 500-650, Coins (Merovingian Frank), n.d., gold, Drinking-horns, early 7th century, and the Anastasius Platter (Byzantine), c. 491-518, silver. found in Suffolk, England.
Smarthistory images for teaching and learning:Figure (PageIndex<26>): More Smarthistory images&hellip
Metalwork is almost the only form in which the earliest Anglo-Saxon art has survived, mostly in Germanic-style jewellery (including fittings for clothes and weapons) which was, before the Christianization of Anglo-Saxon England, commonly placed in burials.  After the conversion, which took most of the 7th century, the fusion of Germanic Anglo-Saxon, Celtic and Late Antique techniques and motifs, together with the requirement for books, created Hiberno-Saxon style, or Insular art, which is also seen in illuminated manuscripts and some carved stone and ivory, probably mostly drawing from decorative metalwork motifs, and with further influences from the British Celts of the west and the Franks. The Kingdom of Northumbria in the far north of England was the crucible of Insular style in Britain, at centres such as Lindisfarne, founded c. 635 as an offshoot of the Irish monastery on Iona, and Monkwearmouth-Jarrow Abbey (674) which looked to the continent. At about the same time as the Insular Lindisfarne Gospels was being made in the early 8th century, the Vespasian Psalter from Canterbury in the far south, which the missionaries from Rome had made their headquarters, shows a wholly different, classically based art. These two styles mixed and developed together and by the following century the resulting Anglo-Saxon style had reached maturity.
However Anglo-Saxon society was massively disrupted in the 9th century, especially the later half, by the Viking invasions, and the number of significant objects surviving falls considerably, and their dating becomes even vaguer than of those from a century before. Most monasteries in the north were closed for decades, if not forever, and after the Canterbury Bible of before 850, perhaps well before, "no major illuminated manuscript is known until well on into the tenth century".  King Alfred (r. 871–899) held the Vikings back to a line running diagonally across the middle of England, above which they settled in the Danelaw, and were gradually integrated into what was now a unified Anglo-Saxon kingdom.
The final phase of Anglo-Saxon art is known as the Winchester School or style, though it was produced in many centres in the south of England, and perhaps the Midlands also. Elements of this begin to be seen from around 900, but the first major manuscripts only appear around the 930s. The style combined influences from the continental art of the Holy Roman Empire with elements of older English art, and some particular elements including a nervous agitated style of drapery, sometimes matched by figures, especially in line drawings, which are the only images in many manuscripts, and were to remain especially prominent in medieval English art.
Early Anglo-Saxon manuscript illumination forms part of Insular art, a combination of influences from Mediterranean, Celtic and Germanic styles that arose when the Anglo-Saxons encountered Irish missionary activity in Northumbria, at Lindisfarne and Iona in particular. At the same time the Gregorian mission from Rome and its successors imported continental manuscripts like the Italian St. Augustine Gospels, and for a considerable period the two styles appear mixed in a variety of proportions in Anglo-Saxon manuscripts. In the Lindisfarne Gospels, of around 700–715, there are carpet pages and Insular initials of unprecedented complexity and sophistication, but the evangelist portraits, clearly following Italian models, greatly simplify them, misunderstand some details of the setting, and give them a border with interlace corners. The portrait of St Matthew is based on the same Italian model, or one extremely similar, used for the figure of Ezra that is one of the two large miniatures in the Codex Amiatinus (before 716), but the style there is very different a far more illusionistic treatment, and an "attempt to introduce a pure Mediterranean style into Anglo-Saxon England", which failed, as "perhaps too advanced", leaving these images apparently as the only evidence. 
A different mixture is seen in the opening from the Stockholm Codex Aureus (mid-8th century, above left) where the evangelist portrait to the left is in a consistent adaptation of Italian style, probably closely following some lost model, though adding interlace to the chair frame, while the text page to the right is mainly in Insular style, especially in the first line, with its vigorous Celtic spirals and interlace. The following lines revert to a quieter style more typical of Frankish manuscripts of the period. Yet the same artist almost certainly produced both pages, and is very confident in both styles the evangelist portrait of John includes roundels with Celtic spiral decoration probably drawn from the enamelled escutcheons of hanging bowls.  This is one of the so-called "Tiberius group" of manuscripts, which leant towards the Italian style, and appear to be associated with Kent, or perhaps the kingdom of Mercia in the heyday of the Mercian Supremacy. It is, in the usual chronology, the last English manuscript in which "developed trumpet spiral patterns" are found. 
The 9th century, especially the latter half, has very few major survivals made in England, but was a period when Insular and Anglo-Saxon influence on Carolingian manuscripts was at its height, from scriptoria such as those at the Anglo-Saxon mission's foundation at Echternach Abbey (though the important Echternach Gospels were created in Northumbria), and the major monastery at Tours, where Alcuin of York was followed by another Anglo-Saxon abbot, between them covering the period from 796 to 834. Although Tours' own library was destroyed by Norsemen, over 60 9th century illuminated manuscripts from the scriptorium survive, in a style showing many borrowings from English models, especially in initial pages, where Insular influence remained visible in northern France until even the 12th century. The Anglo-Saxon metalwork produced in the Salzburg area of modern Austria has a manuscript counterpart in the "Cutbercht Gospels" in Vienna. 
By the 10th century Insular elements were relegated to decorative embellishments in England, as the first phase of the "Winchester style" developed.  The first plant ornament, with leaves and grapes, was already seen in an initial in the Leningrad Bede, which can probably be dated to 746. The other large initial in the manuscript is the first historiated initial (one containing a portrait or scene, here Christ or a saint) in the whole of Europe.  The classically derived vine or plant scroll was to largely oust interlace as the dominant filler of ornamental spaces in Anglo-Saxon art, just as it did in much of Europe beginning with Carolingian art, though in England animals within the scrolls remained much more common than abroad.  For some long time scrolls, especially in metal, bone or ivory, are prone to have an animal head at one end and a plant element at the other.  All these changes were not restricted to manuscripts, and may not have been driven by manuscript style, but we have a greater number of manuscripts surviving than works in other media, even if in most cases illuminations are restricted to initials and perhaps a few miniatures. Several ambitious projects of illumination are unfinished, such as the Old English Hexateuch, which has some 550 scenes in various stages of completion, giving insight into working methods. The illustrations give Old Testament scenes an entirely contemporary setting and are valuable images of Anglo-Saxon life. 
Manuscripts from the Winchester School or style only survive from about the 930s onwards this coincided with a wave of revival and reform within English monasticism, encouraged by King Æthelstan (r. 924/5-939) and his successors. Æthelstan promoted Dunstan (909–988), a practising illuminator, eventually to Archbishop of Canterbury, and also Æthelwold and the French-trained Norseman Oswald. Illumination in a new style appears in a manuscript of the biographies by Bede of St Cuthbert given by Æthelstan to the monastery in Chester-le-Street about 937. There is a dedication portrait of the king presenting his book to the saint, the two of them standing outside a large church. This is the first real portrait of an English king, and heavily influenced by Carolingian style, with an elegant inhabited acanthus border. However, the initials in the text combine Carolingian elements with animal forms in inventive fashion.  Miniatures added in England to the continental Aethelstan Psalter begin to show Anglo-Saxon liveliness in figure drawing in compositions derived from Carolingian and Byzantine models, and over the following decades the distinctive Winchester style with agitated draperies and elaborate acanthus borders develops. 
The Benedictional of St. Æthelwold is a masterpiece of the later Winchester style, which drew on Insular, Carolingian, and Byzantine art to make a heavier and more grandiose style, where the broad classicising acanthus foliage sometimes seems over-luxuriant. Anglo-Saxon illustration included many lively pen drawings, on which the Carolingian Utrecht Psalter, in Canterbury from about 1000, was highly influential the Harley Psalter is a copy of it. The Ramsey Psalter (c. 990) contains pages in both the painted and tinted drawing styles, including the first Beatus initial with a "lion mask", while the Tiberius Psalter, from the last years before the Conquest, uses mainly the tinted. Anglo-Saxon culture was coming into increasing contact with, and exchanging influences with, a wider Latin Mediaeval Europe. Anglo-Saxon drawing had a great influence in Northern France throughout the 11th century, in the so-called "Channel school", and Insular decorative elements such as interlace remained popular into the 12th century in the Franco-Saxon style.
The Incipit to Matthew from the Book of Lindisfarne, an Insular masterpiece
Belt buckles go back at least to the Iron Age and a gold "great buckle" was among the items interred at Sutton Hoo. Primarily decorative "shield on tongue" buckles were common Anglo-Saxon grave goods at this time, elaborately decorated on the "shield" portion and associated only with men. One such buckle, found in a 7th-century grave at Finglesham, Kent in 1965 bears the image of a naked warrior standing between two spears wearing only a horned helmet and belt. 
Frame-style buckles are the oldest design. In a frame-and-prong buckle the prong attaches to one end of the frame and extends "away" from the wearer through a hole in the belt, where it anchors against the opposite side of the frame. The oldest styles have a simple loop or "D" shaped frame (see: D-ring), but "double-loop" or "center post" buckles whose prongs attach to a fixed center section appear in the 8th century. Very small buckles with removable center pins and chapes were introduced and used on shoes, beginning in the 17th century, but not often for waist-belts. A "chape" is the fixed cover or plate which attaches buckle to belt while the "mordant" or "bite" is the adjustable portion.
Plate-style buckles are common on western military belts of the mid-19th century, which often feature a three-hook clasp: two hooks fitting into one end of the belt and a third into the other. Officers might have a similar but more intricate clasp-style closure that featured two interlocking metal parts. In practice, the term "belt plate" refers to any flat, decorated surface on such a clasp. These precede development of modern "western-style" buckles, which feature a hinged frame affixed to one end of the belt and a simple hook clasp which enters the belt hole toward the wearer but leaves most of the buckle on the "outside" of the belt, providing an ample surface for decoration. The distance between the fixed frame or chape of a plate buckle and its adjustment prong is called the "throw."
Box-frame buckles are another, 20th-century style of military friction buckle, common on webbed belts. The box-frame buckle consists of three parts (front, back and post). An adjustable captive post sits perpendicular to the belt to press it against the outer "box," which completely surround the webbing and minimize accidental adjustments should part of the belt snag on something. There may or may not be a metal tip on the opposite "tongue" end of the belt for easier insertion.
O-Ring/D-Ring buckles use one or two rings to form the buckle. The belt is fastened by threading through the ring(s). This is used with braided, wedding, and canvas belts. 
Snap/Side release buckles use male and female ends to snap together. They are more functional and often used for outdoor activities. 
Earlier, military-style buckles often use friction and are designed for use with cloth belts or straps. Simple friction buckles are one-piece frames with no prong whatsoever, the strap or belt winding through a series of slots, and may more technically be called "belt slides" or "belt trims." Although technically not buckles, other fasteners such as plastic "side-clasp" or even seat belt latches are also often used on belts, and colloquially called buckles.
A possible bone belt hook found in the Bronze Age layers of Yanik Tepe, northeast of Lake Urmia, Iran
Gold Buckle and Strap Fittings from Sutton Hoo - History
Metal detecting holidays in England
with the Worlds most successful metal detecting club
Twinned with Midwest Historical Research Society USA
Saxon/Viking History and artifact finds
Saxon harness fittings now have their own page
Saxon coin are now on a new page
Saxon Bronze ornamental plate
The Angle, Saxon, and Jute tribes who invaded Britain in the 5th and 6th centuries are known as the Anglo-Saxons. They left their homelands in northern Germany, Denmark and northern Holland and rowed across the North Sea in wooden boats.
The Anglo-Saxons took control of most of Britain, although they never conquered Scotland, Wales and Cornwall. They divided the country into kingdoms, each with its own royal family. The stronger kingdoms often took control of the weaker kingdoms.
By around AD 600 the five main Anglo-Saxon kingdoms were Northumbria, Mercia, Wessex, Kent and Anglia.
Early Anglo-Saxons wrote using letters called runes. They believed runes had magical powers.
Anglo Saxon England (597 - 687)
The coming of St. Augustine, triumph of Rome-oriented Christianity, Saxon control of island, rise of Mercia, Offa's Dyke.
Anglo Saxon England (688 - 801)
Rise of Wessex, King Ine establishes his law, Venerable Bede, Viking invasions.
Anglo Saxon England (802 - 898)
Triumph of Egbert, development of Wessex dynasty, Viking wars, Alfred the Great, St. Swithun, Peace of Wedmore, the Danelaw.
Anglo Saxon England (899 - 977)
Athelstan, St. Dunstan, growth of monasteries, more Viking wars, Battle of Brunanburh
Anglo Saxon England (978 - 1066)
Aethelred the Unready, Danegeld, Danes gain English crown, Edward the Confessor, rise of the Godwins, Westminster Abbey, Harold and William at Hastings.
Aethelred I 675-704
Offa 757-796 - see coin find below
Coenwulf 796-821 - see coin find below
Cenelm (St.) 821
Ceolwulf I 821-823
Wiglaf (again) 830-840
Wistan (St.) 840
Sub-Kings under Norse Rule
The minting of coins in Britain had been abandoned after about 435 as a result of the Anglo-Saxon invasions. Bishop Liudard came over from France with the Merovingian Princess Bertha who married Prince Aethelbart who later, in 590, becomes King of Kent.
Among the various treasures on board, are 37 Merovingian gold coins, but no English coins.
As a result of the gradual rebuilding of commercial and cultural contacts with France and Italy Anglo-Merovingian types of coinage begin to circulate in south-east England.
A hoard of 101 gold coins, most of which were minted in England, is buried at Crondall in Hampshire. The precise date is not certain.
Initially silver is used with gold as an alloy but early in the 8th century silver and base metals are the only ones used.
After the conquest of Kent by Offa, King of Mercia, production of the silver penny increases enormously and it replaces the older, more crudely designed sceat as the main English coin, except in Northumbria.
For the next 2-3 centuries England is subjected to repeated Viking attacks.
Saxon (c.550-650AD) dagger pommel
What can you say about a find like this, just beautifully tooled solid gold and probably owned by a very important Saxon chief. Brought by Colchester museum under the Treasure Act.
Cleaned up Saxon rope necklace end - single rivet fixing
Beast with large bottom jaw, large nose, recessed eyes with his head resting on his paw left - rear shows curled up spiralled tail.
Rope necklace is still embedded in end
Monster find - Early medieval gold ring - reported as treasure to museum
Interesting hand punched lettering which has a barred A with additional top bar like on short cross coins of Class7 and an unbarred A also on the ring.
"DEBAL GUD GUDANI +" which is Gothic, meaning "God of Gods"
G is classic Saxon design
9th-10thC gold finger ring - reported as treasure to museum
Huge Saxon/Viking medallion
Stunning 11thC late Viking buckle - two biting beasts gripping the cross bar of the buckle
Monster find - circa 8thC Anglo Saxon mount - possibly Viking - one for the museum - cleaned up pictures added
Black enamel with silver inlay
Stunning enamelled Saxon mount
Saxon gold 'Flat type' pin head back- reported as treasure to museum
Ancient gold sheet - reported as potential treasure to museum
C6thC Saxon gilded disc brooch
Anglo-Saxon 'Class Ai' Button Brooch
What a stunning find - soaking to remove the soil - each raised section is 4mm deep
Not an obvious fixing for a brooch, more like a mount. Nothing so far in my reference books, at a guess Early medieval in date
36.6mm high, 7.16mm thick, 16.17g
Initial ID from the museum is early medieval also.
5th-6th century AD Saxon gilded saucer brooch - running spiral design East Anglian type
Donated to Colchster museum by Ark Gary
Stunning early medieval dagger quillion - finger guard is decorated with a runic inscription
I checked all the runic styles and it matches Norwegian the best - one for the museum
Thor's hammer pendant - silvered base metal 2.45g - 22.59mm L
Museums feedback 'The pendant is Viking period, so 9th-11th century. It represents Thors hammer which was called Mjollnir. I would suggest that it is Scandinavian rather than a copy, as it is securely placed within Viking mythology.'
Viking Age 1000AD. This particular Thor's Hammer pendant was found in Mandemark on the island of Møn and is displayed in the National Museum, Copenhagen, Denmark.
Saxon solid gold hanging pendant ? - 2.65g, 11.95mm H x 10.68mm dia x 11.68mm W
Currently with the British Museum being evaluated
Saxon wrist band with punched circle design - 63.87mm W x 4.92mm T
9thC Viking engraved silver strap end 5.82g, 44.44mm L x 11.91mm W. found by Cal Shawn
Decoration matches the bowl on the left which is part of a known Viking silver hoard
C10thC Anglo Saxon strap end 18.48g, 34.41mmL x 18.33mmW x6.53mm H
Only one of it's type found in Britain - donated to Colchester museum by NovaScotia Andy
'It is probably an insular copy of a Carolingian style, or it could even be the product of a workshop located on the fringes of the Carolingian continent, maybe somewhere like Domburg on the coast of Frisia. 10th - 11th century in date'.