While the work is unsigned, a hole in the underside suggests that this woman once sat upon a base, and that base may have carried the signature. Our identification of the artist and date rests on a related figure with nearly identical proportions and facial features reproduced in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 128, p. 97, and in Bernadette Driscoll, The Inuit Amautik: I Like My Hood To Be Full, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 40, p. 94. Driscoll describes that “the head of the woman “floats” in the hood of the amautik. Could the artist’s deliberate exaggeration of the hood be a reference to the solitude of the woman and the absence of a child within the amaut? (p. 91).” That suggestion is especially persuasive in the present work. Here, the woman sits fully absorbed in the string game in her hands