Blick auf das Tibertal mit dem Ponte Molle

Pierre Rosenberg/ Louis Antoine Prat (1994, t. II, R 1252, 1256, R 1258, R 1260, R 1262) dismissed this and other sheets from the drawing oeuvre of Poussin. They listed the present and other stylistically comparable drawings in a so-called "G group" which was ascribed to a hitherto unknown artist and identified with reservation as Gaspard Dughet (the brother in law of Nicolas Poussin). The sheets are mainly preserved in the Louvre, the British Museum, Windsor Castle and in  the Albertina. They probably derive  from a sketchbook, share the execution in pen and brown ink and the common subject of motifs of the Roman Campagna and Tiber valley. Konrad Oberhuber ( in Nicolas Poussin (1594-1665), conférences et colloques, t. 1, pp. 101ff.) resolutely rejected the vague attribution of Rosenberg/Prat and reconstituted the drawings in the early drawing oeuvre of the artist on the basis of stylistic reasons. In 2007/8 (exh. cat. Poussin and the Arcadian Vision, Metropolitan Museum, New York und Museo de bellas Artes Bilbao, Nr. 94) Rosenberg renewed his opinion which has since not been contradicted even though Rosenberg has not been brought up further proof which would strengthen his argument.