Up until the late 1940s, carvers from Baffin Island used organic material as their primary material of choice. As the market for Inuit art expanded, carvers began to produce works in stone quarried near their settlements. While many early sculptures are unsigned, they can often be geolocated and dated by their raw material as well as their style. In essence, the geology is dictated by the geography. Prior to the discovery of serpentine quarries in the mid 1950s, Kinngait carvers worked with a grainy grey stone, often etching into the surface to use the contrast of rough and polish to embellish their works.

While unsigned, this lovely kneeling woman is a classic example of early Kinngait sculpture. There are tantalizing hints of Kiakshuk, Qaqaq, and even a young Aqjangajuk (Axangayuk), and the composition is one that the great Osuitok would revisit time and again, adding his name to the list of possible suspects!