Real client case
Real ConfirmArt case for a framed drawing attributed to Henri Matisse, identified in the submitted certificate as Back View of a Nude and reviewed through paper, certificate evidence, labels, provenance and signature behavior.
Selected evidence
Report structure
The submitted work is a small vertical drawing on paper, presented behind glass within a modern wooden frame and wide cream mat. The certificate supplied with the object identifies it as Back View of a Nude and dates it to 1930, attributing it to Henri Matisse. The same certificate gives the dimensions as 11 by 8 5/8 inches, or approximately 28 by 22 cm, and describes the medium as pencil on paper with the artist's signature on the lower left.
The undated certificate identifies the work as Back View of a Nude (1930), attributes it to Henri Matisse, gives the medium as pencil on paper, and supplies a certificate number, 927698. It also gives a reference or ISNI-like number, 20100910211913, and lists The Townsend Gallery website and contact information. The printed wording at the top states that the artwork is a "one-of-a-kind authentic, original painting," while the artwork details below identify it as pencil on paper.
The second documentary item is a rear label or label photograph reading "Xavier Fourcade, Inc., 36 East 75th Street, New York, N.Y. 10021." The visible typed text below identifies Henri Matisse and appears to refer to Back View of a Nude, 1930 , 11 x 8 5/8 inches, pencil on paper, with a further code or notation that appears to include "P de Matisse" and the number 4720. The label therefore repeats the title, dimensions, date, and medium associated with the submitted drawing.
The comparative images obtained and selected by ConfirmArt are included below. Their function is comparative, not evidentiary in themselves: they help define the range of Matisse-related rear-view nude imagery, distinguish secure autograph handling from thematic resemblance, and identify possible visual sources from which an imitative or Matisse-style drawing could have drawn inspiration. The selection was checked against museum, gallery, and catalogue references for the relevant comparison works .
The lower-left signature must be treated as one of the strongest warning signs in the present assessment. It adopts the expected artist name, but its execution is not persuasive from the available photograph. The line appears unusually dark and continuous, with saturated vertical strokes and a broad final movement.
Signature evidence
Authentication evidence
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