In 1967Winzinger attributed The Adoration of the Magi in the Thyssen-Bornemisza collection to a new artist whom he called The Master of the Lugano Adoration and to whom he attributed a series of drawings that are close to the style of Wolf Huber. The works of this anonymous master were frequently attributed to Huber, including the panel in the Museo Thyssen-Bornemisza, previously considered to be an early work by Huber of around 1520.

Winzinger defined the stylistic characteristics of this anonymous artist on the basis of differences between his work and that of Huber, and he particularly emphasised the contrasting approach to pictorial space. Winzinger also noted the awkward use of perspective, visible in the architecture in the Madrid panel and also to be found in the works of Huber and Altdorfer. In 1991 Lübbeke confirmed the attribution and concluded that the present artist, whom she called The Master of the Thyssen Adoration, was probably familiar with Altdorfer’s workshop in Ratisbon and Huber’s in Passau. The corpus of this artist, who was probably active in Bavaria and Austria around 1520, is still relatively incomplete.