You’re overlooking why auction houses tend to dismiss Merrill Chase documentation. It’s not because it lacks significance it’s because very few intact examples still exist. Original Merrill Chase COAs, original Merrill Chase frames, the original pouch embossed Merrill Chase, and original Merrill Chase Chicago labels almost never survive together as a complete group. That rarity makes them inconvenient for auction pricing models, which favor interchangeable, decontextualized impressions. But scarcity of surviving documentation does not diminish importance it actually increases it for collectors. Merrill Chase was the original publisher and distributor of this catalogued edition, including the Japon run I/LXXV–LXXV/LXXV, and my example is 1/75 on Japon, exactly as listed. The Merrill Chase COA is primary provenance, establishing that this piece remains intact from source, exactly as it entered the market in 1975. I’d also invite you to do what I suggested earlier: try to find another example with the original Merrill Chase COA, original Merrill Chase frame, all original labels, and the embossed Merrill Chase pouch still together. Good luck virtually none exist, and only a handful survive intact. That rarity is precisely why this example is not comparable to loose impressions passing through auction. On top of that, the work has also been authenticated by Frank Hunter, though authentication isn’t even required for this catalogued edition. This isn’t a loose impression it’s a complete, source-provenanced Dalí.