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b. 4-5

composition: Op. 45, Prelude in C♯ minor

 in FE

GE & EE
..

The placement of the  mark in FE1 literally means that the pedal should be depressed on the last beat of bar 4, which for harmonic reasons could not be intended by Chopin. Such notation probably results from misunderstanding the autograph, in which the mark might have been placed that way due to lack of space under the very low note (C1) in bar 5. The notation of FE2, in which bar 4 ends a line of text, is definitely erroneous. EE and GE have the  placed correctly in bar 5.

category imprint: Differences between sources

issues: Errors in FE

b. 4

composition: Op. 45, Prelude in C♯ minor

Minim g in FE (→EE1)

Dotted minim in GE & EE2
..

The notation of FE (→EE1) is less precise than the notation of GE (and EE2), probably taken from [A2]. It is not possible to determine whether that fact results from the incorrect reading of [A1] by the engraver or from the less careful notation of the autograph itself. 

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 4

composition: WN 17, Polonaise in B♭ major

..

On the last beat of the bar, EF has crotchets in the parts of both hands. The compatible rhythms of JC (based on [AI]) and PE (based on [A]) give rise to doubts over the authenticity of the version included in EF. 

category imprint: Differences between sources

b. 4

composition: WN 17, Polonaise in B♭ major

No indication in JC and EF

in PE
..

There are no reasons to doubt the authenticity of the indication marcato in PE. Most probably it refers to the L.H.

category imprint: Differences between sources

b. 4

composition: WN 17, Polonaise in B♭ major

No marking in JC and EF

 in PE
..

The diminuendo hairpins, present only in PE, probably refer to the part of the R.H.

category imprint: Differences between sources