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b. 264

composition: Op. 2, Variations, complete

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In the main text we add cautionary naturals to the c2-c3 octave.

category imprint: Editorial revisions

b. 264

composition: Op. 49, Fantaisie in F minor

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In the last two R.H. quavers one can see deleted e3 notes in A.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 264

composition: Op. 49, Fantaisie in F minor

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The cautionary  to c2 was added – perhaps at Chopin's request – at the stage of proofreading FE1 (→FE2→EE).

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 264-265

composition: Op. 49, Fantaisie in F minor

till bar 265 in A

in b. 264 in GE

&  in FE (→EE)
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The shorter  marking in GE must have been an arbitrary decision by the engraver, who adjusted the sign to the bar. By contrast, the FE hairpin, of the same range as in GE, can be coming from Chopin, who would add some performance markings twice – both to A after [FC] had been finished, and to [FC] or proofs of FE1. This is also supported by the presence of a  hairpin in FE at the beginning of bar 265 – with longer  hairpin this sign would be contradictory.
As in analogous bars 94 and 98, the  in FE, certainly authentic, can be considered an alternative or an addition to the accent on e2-e3 written in A – see note to bar 265.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins

b. 265

composition: Op. 43, Tarantella

 
 
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In FE (→IE) there are no accents in bars 265-267.

category imprint: Differences between sources

issues: Inaccuracies in FE