This particular figure is worked in raised relief, her large head dominating a flat-chested body, arms running down to curve inward, legs straight with feet turned inwards and touching at the toes. The pose is formulaic in the way that sheela-na-gigs often are, yet the specifics of the carving, the plainness of the body, the deliberate geometry of the limbs, give it a strangely formal quality, as if the mason were following a very precise instruction.

The slab's origins are uncertain, which is itself part of what makes it interesting. It has been tentatively linked to a pair of figures once associated with Ringaskiddy, a harbour settlement on the southern shore of Cork Harbour. A researcher named Guest, writing in 1936, noted those Ringaskiddy figures as being held in a private garden, but was unable to locate them. Whether this museum piece is one of that pair remains unresolved. The original find spot is recorded separately, suggesting the slab had already left its first home before it entered the museum's collection.