Real client case

Number 1

The oil on canvas, "Number 1", is attributed to Jackson Pollock, and will be labeled A1 in this report

Artist / group
Jackson Pollock
Identifier
0440-01/2025
Number 1 attributed or related to Jackson Pollock, frontal artwork image for ConfirmArt authentication review

Selected evidence

Images extracted from the report source

Jackson Pollock Number 1 authentication evidence image 1
Jackson Pollock authentication evidence image 1: Number 1
Jackson Pollock Number 1 authentication evidence image 2
Jackson Pollock authentication evidence image 2: Number 1
Jackson Pollock Number 1 authentication evidence image 3
Jackson Pollock authentication evidence image 3: Number 1
Jackson Pollock Number 1 authentication evidence image 4
Jackson Pollock authentication evidence image 4: Number 1
Jackson Pollock Number 1 authentication evidence image 5
Jackson Pollock authentication evidence image 5: Number 1
Jackson Pollock Number 1 authentication evidence image 6
Jackson Pollock authentication evidence image 6: Number 1
Jackson Pollock Number 1 authentication evidence image 7
Jackson Pollock authentication evidence image 7: Number 1
Jackson Pollock Number 1 authentication evidence image 8
Jackson Pollock authentication evidence image 8: Number 1

Report structure

Section summaries

01

List of the Documents

The section organizes the available documentation and provenance signals so the artwork can be reviewed as a traceable object, not only as an image.

Number 1: List of the Documents
02

Description of the Artwork

This abstract painting allegedly made in 1949 by Jackson Pollock (Attributed to) and titled "Number 1", presents a quintessential example of the dynamic and energetic "drip" style often associated with Pollock's work. This painting features an all-over, multi-layered composition, extending to the very edges of a roughly rectangular canvas measuring approximately 24 inches by 33 inches. Spanning the entirety of the picture plane, interlaced skeins of paint form an all-over composition that pulls the viewer into a la

Number 1: Description of the Artwork
03

Details

The surface is covered with overlapping networks of poured, dripped, and splattered paint, creating an intricate matrix of lines and spatters that move dynamically across the entire front of the artwork. The palette is dominated by striking tonal contrasts, merging neutrals such as grays, whites, and blacks with vibrant oranges, yellows, and hints of blue and green. Each color application sits alongside, atop, or beneath other colors, amplifying the sense of spatial depth and rhythmic complexity characteristic of a

Number 1: Details
04

Stretcher and Back Side

This work is mounted on a simple wooden stretcher that supports the roughly rectangular canvas, which measures approximately 24 inches by 33 inches. The stretcher construction features two horizontal bars and one vertical crossbar, providing structural integrity while maintaining a relatively lightweight framework. Along the edges, residual paint drips and spatters are visible, indicating that the painting process extended beyond the frontal surface onto the sides of the canvas and stretcher.

Number 1: Stretcher and Back Side
05

Signature Irregularities

Another notable point of contention is the signature that appears on the front (and purportedly references "Jackson Pollock"). Close examination reveals multiple inconsistencies when compared to documented Pollock signatures: Discontinuous Stroke in the "P": The letter "P" in "Pollock" is formed with two distinct strokes, creating a break at the top loop—a feature not observed in authentic examples, where Pollock typically executed the letter in a more continuous motion. Formation of the Letter "a": Instead of a fl

Number 1: Signature Irregularities
06

Additional Texture Concerns

Beyond the issues of canvas dimensions, signatures, and overall compositional approach, there are also notable inconsistencies in surface texture when comparing the disputed painting (A1) with known authentic Pollock drip pieces. Authentic Pollock works often exhibit what can be described as a "continuous topography" of layered paint: drips, splatters, and skeins that form subtle elevations and depressions as they overlap. These layers tend to integrate harmoniously, revealing a sense of accumulation that has taken

Number 1: Additional Texture Concerns

Signature evidence

Signature analysis reference tables

Number 1: Signature Irregularities
Signature IrregularitiesAnother notable point of contention is the signature that appears on the front (and purportedly references "Jackson Pollock"). Close examination reveals multiple inconsistencies when compared to documented Pollock signatures: Discontinuous Stroke in the "P": The letter "P" in "Pollock" is formed with two distinct strokes, creating a break at the top loop—a f

Authentication evidence

Selected close details from the human review

Number 1: Signature Irregularities
Signature IrregularitiesAnother notable point of contention is the signature that appears on the front (and purportedly references "Jackson Pollock"). Close examination reveals multiple inconsistencies when compared to documented Pollock signatures: Discontinuous Stroke in the "P": The letter "P" in "Pollock" is formed with two distinct strokes, creating a break at the top loop—a feature not observed
Number 1: Additional Texture Concerns
Additional Texture ConcernsBeyond the issues of canvas dimensions, signatures, and overall compositional approach, there are also notable inconsistencies in surface texture when comparing the disputed painting (A1) with known authentic Pollock drip pieces. Authentic Pollock works often exhibit what can be described as a "continuous topography" of layered paint: drips, splatters, and skeins that form subt

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  • Reverse, support, frame and condition details
  • Signature, inscriptions, labels or seals
  • Invoices, certificates, provenance or catalogues
  • Comparative images, references or previous opinions, if available
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