The use of fingerprints to help in the attribution of art was already suggested in 1903, but it was not until 1925 that Robert Heindl, at the behest of the director general of the Bavarian State Collections of Paintings, Privy Councilor Dörnhöffer, and the first conservator of the Munich Pinakothek, Professor Kinkele, began to examine paintings by Albrecht Dürer for finger marks. The finger marks must be found in the original paint layer and must contain so-called anatomical characteristics. It turns out that a number of painters used not only their fingers, but also the palms of their hands as an integral part of their painting techniques so that, on careful examination, characteristic movements may be recognized. The author examined several paintings from Albrecht Dürer's workshop and found that the existence of such finger-and palmprints, especially when associated with characteristic movements in the original paint layer, can contribute significantly to the authentication process.