It sits in the corner of the front garden of a modern bungalow, which is itself an unremarkable enough detail until you consider what it means: that the domestic and the deeply ancient occupy the same small plot of ground, separated by a few metres of lawn. The boulder faces out along a narrow V-shaped valley formed between the hills of Knockboy and Knockatinna, and from that position commands a clear view of Dingle Bay to the north-west. Whether that alignment was intentional is one of the quieter puzzles that prehistoric rock art tends to leave unanswered.

The carvings themselves belong to the cup-and-ring tradition, a form of prehistoric rock art found widely across Atlantic Europe and dating broadly to the Neolithic and Bronze Age periods. The motifs, as the name suggests, consist of shallow circular depressions, known as cups or cupmarks, surrounded by one or more incised concentric rings. On this particular boulder, the designs are set close together on a face that slopes upward to the south-east, and include a cup-and-three rings, four examples of cup-and-two rings, two cup-and-rings, a faint ring, and a number of plain cupmarks without rings. What the carvings meant to the people who made them is not known; interpretations range from territorial markers to cosmological maps to ritual surfaces, and none has settled the question. The site was recorded in the 1996 archaeological survey of the Iveragh Peninsula by A. O'Sullivan and J. Sheehan, a survey that catalogued the remarkable concentration of prehistoric remains across south Kerry.

A more recent site visit found that the boulder could not be located. The field boundary near the recorded position was checked and the stone was not seen, which raises the possibility that it has been moved, buried, or obscured since it was first documented. The garden setting noted in the earlier survey sits at approximately 120 metres above sea level on a north-facing slope, but whether the boulder remains visible today is genuinely uncertain.