Most carvings from the early 1950s were unsigned. Additionally, almost all supporting documents (i.e. “Igloo Tags”, original bills of sale, etc.) have been lost to time. This often makes identification a rather difficult endeavour. Fortunately, many of the best early artists had, from day one, a “signature” style, even if that evolved over time. Many sculptures have stylistic clues which help narrow down the list of possibilities. The author of this wonderful Seated Woman is the subject of some debate as it shows stylistic clues that strongly suggest two important early Kinngait masters, Kiugak Ashoona (1933-2014) and his friend and contemporary Lukta Qiatsuq (1928-2004). While it might be expedient to give the attribution to Kiugak (as he is the better-known sculptor), we feel that Lukta’s rightful place in the pantheon of Kinngait sculpture is long overdue. In this case, heads or tails are both winners. Seated Woman is a brilliantly carved and beautifully composed work, full of movement and personality and yes, even a certain undeniable sexiness.