Robert Descharnes has confirmed the authenticity of this drawing.
The nude female figure in the present drawing is closely related to, and may be an early representation of, a woman that Dalí identified as "Gradiva" in a series of paintings and drawings executed in 1931-1932 (Descharnes, nos. 379, 382-389). Known in the present drawing as Andromeda, and exhibited under this title as far back as 1931, this figure does indeed fit the role of In this story a young archeologist becomes obsessed with a stone relief from antiquity of a young woman. He has a plaster cast made of it, and his obsession with the image--which, like Andromeda, is imprisoned in stone--causes him to have a terrifying dream in which he is transported back to Pompeii in 79 AD during the eruption of Vesuvius. In his dream he sees the woman in the relief, whom he calls "Gradiva," but loses her during the destruction of the city. Awake, he is in despair, until he meets Zoe, a young woman who appears to embody his imaginary love. Through her attention and kindness, his anxiety-ridden and delusional fantasy is transformed into the reciprocal love of a real woman.
Sigmund Freud wrote a text in 1907 entitled Jensen's Delusions and Dreams in 'Gradiva', in which he explored the importance of early relationships in the development of loving, and the value of delusions as a means to emotional fulfillment. Dalí associated his wife Gala, whom he met in 1929, with Gradiva, and in the Gradiva paintings he depicts her scaling rock formations inspired by their surroundings in Port Lligat. Dalí wrote, "She was destined to be my Gradiva, 'she who advances,' my victory, my wife. This cure was accomplished solely through the heterogeneous, indomitable and unfathomable power of the love of a woman" (in The Secret Life of Salvador Dalí, New York, 1942, p. 233).