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b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

 in A (→FC→GE)

 in FE (→EE)
..

The change of time signature in FE probably resulted from the engraver's inattention. In Chopin's pieces, it was common that engravers did not differentiate between  and , see the Prelude No. 14 in E Minor.

category imprint: Differences between sources

issues: Errors in FE , 4/4 or 2/2

b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

6 accents in A (→FE)

No marks in FC (→GE)

6 vertical accents in EE
..

In this bar Fontana overlooked all performance indications except the slur, i.e. , pedalling markings, accents and the staccato dot in the bass.
The change of font for accents in EE was an arbitrary decision typical of that edition. 

category imprint: Differences between sources

issues: Errors of FC

b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

Pedalling in A (→FE→EE)

No markings in FC (→GE)
..

Fontana overlooked the pedalling markings (as well as almost all performance indications in this bar).

category imprint: Differences between sources

issues: Errors of FC

b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

Staccato in A (→FE)

No mark in FC (→GE) & EE
..

The missing staccato dot is an oversight of the copyist and the engraver of EE.

category imprint: Differences between sources

issues: Errors in EE , Errors of FC

b. 1

composition: Op. 28 No. 16, Prelude in B♭ minor

in A (→FE→EE) & GE

No indication in FC
..

The absence of  in FC must be the copyist's mistake. It is unclear on what grounds that indication was added in GE – most probably it was a particularly opportune revision.

category imprint: Differences between sources

issues: GE revisions , Errors of FC