An unsigned painting of a skeleton in a blue cape, tentatively linked to Paul Delvaux, was examined at the Royal Institute for Cultural Heritage to clarify its authorship. Although the composition and provenance initially suggested a connection to Delvaux, infrared reflectography (IRR) revealed decisive evidence to the contrary. Features hidden underneath the paint layer, such as block-capital colour notes, and underdrawn motifs of carpenter’s tools link the work to works and preparatory drawings by Emile Salkin, including a 1947 skeleton painting with similar tools and technique. Stylistic links between a reused religious scene on the reverse and Salkin’s known studies further support the attribution. The technical findings firmly reattribute Standing Skeleton with a Blue Cape to Salkin, demonstrating the decisive role of imaging in resolving attribution questions.