The piece is an artifact with evidence of focused human retouch action all over it.
It was found in strong context of other figurative pieces seen on this blog which incorporate natural quartz crystal formations in the stone.
It has no apparent use wear as a tool and no tool attributes I can detect.
It has quartz crystals attached to the flint which would have made the raw material attractive for an object designed for visual properties.
There are two zoomorphic forms on opposite sides of the stone. The animals share 'mouths' along a bi-facial edge on the sculpture.
There are two anthropomorphic head forms on opposite sides of the stone. Like the animals, the humans share 'mouths' along a bi-facial edge on the sculpture.
The piece includes the known Paleolithic art motif of combining the heads of humans and animals- and does so twice.
In a third visage of the stone in a vertical position is a likely intended long-beaked bird figure.
In a fourth visage of the stone of the opposite side in a vertical position is a second bird figure.
This makes a total of six creatures represented on this one extraordinary flint figure stone. The artist's pairing of a feline with a horse could be a recognition of their predator-prey relationship or even an appreciation for the feline's work at delivering horse kills to scavenge.
Perhaps horses were desired for felines so felines would be less likely to predate on humans. We can only speculate with futility on the specifics but we can indeed recognize what must have been visual patterns of meaning in portable rock art from the past.