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b. 255

composition: Op. 2, Variations, complete

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As far as the naturals raising e to e in the 2nd half of bar 255 are concerned, in A Chopin was satisfied with accidentals to the L.H. chord (e1) and the 3rd demisemiquaver (e3). The remaining 3 naturals necessary later in the passage were added by GE (→FE,EE).
In EE the  to the L.H. chord, which was placed slightly too low in GE1, was interpreted as a natural raising d1 to d1.
In A the  to e3 is written too low, at the pitch of c3. Such inaccuracies are often to be found in Chopin's autographs, generally – as is the case here – with no influence on the interpretation of the text.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , Inaccuracies in GE , Errors in EE , GE revisions , Accidental below/above the note , Inaccuracies in A

b. 255

composition: Op. 2, Variations, complete

..

In AsI and A, there is a  to B (cautionary?) before the last octave in bar 255. In GE (→FE,EE), another one was added, to B1. In the main text we omit these unjustified accidentals.
At the beginning of bar 256, in the manuscripts there is also an accidental only to the top note of the L.H. octave. A natural to the bottom note was added already by GE (→FE,EE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 255

composition: Op. 49, Fantaisie in F minor

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The  to the 4th quaver (d3), overlooked in A and FE, was added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 255

composition: (Op. 4), Sonata in C minor, Mvt IV

b-b in A, amended version

b-b in A (original version, contextual interpretation) & GE (→FE,EE,IE)
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The version of the 2nd half of the bar in A, pianistically and harmonically questionable, is probably an example of a "correction" (the change of  to , probably performed in a hurry), which resulted in a greater mistake than the one that was supposed to be corrected – the absence of the  restoring b on the 5th quaver. The initial notation reveals that Chopin approached this place in the same way as he did with the similar situations in bar 254 (as well as 250 and 253), where the flats, although undoubtedly necessary, are only of a cautionary nature.
In GE (→FE,EE,IE) the initial text was restored, supplemented by the necessary . 

category imprint: Interpretations within context; Differences between sources

issues: Corrections in A , Errors resulting from corrections , GE revisions , Foreign hand additions in manuscripts , Deletions in A

b. 256

composition: Op. 43, Tarantella

 
 
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In FE (→IE) in the chor of the first beat of RH the bottom  note of the chord - b1 - must have been overlooked.

category imprint: Differences between sources

issues: Errors in FE