ABSTRACT
Documents the impact on Holbein scholarship of Eigner's forged inscription on Holbein the Elder's Virgin and Child with St Anne, and his creation by this means of a fake Holbein family history. Also notes Eigner's forged Holbein signature and date of 1459 on a Burgkmair painting, placed there in order to establish the existence of a Holbein "grandfather," ostensibly also a painter. Discusses Eigner's deceptive and incompetent methods in restoring Holbein's Solothurn Madonna.
