It is unclear whether the 
raising f to f
in GC was written by the copyist or Chopin:
-
In the first case the sign could have been copied only from one of the remaining Stichvorlage manuscripts. As it is neither in FE nor in EE, Chopin most probably removed it in the base texts to these editions, thus re-establishing the harmonic regularity of figurations. Such a scenario is supported by the presence of
before f on the last semiquaver in the bar in EE1, which would have made no sense if there had not been any sign preceding f. Initially, the sign must have been included in [A], as at the beginning it was printed in FE too. Therefore, deletion of this in the proofreading of FE would have meant finishing the previous corrections in the base texts to FE and EE and would have proven that Chopin considered the version with f on the 2nd semiquaver of the last group as prevailing. One cannot also entirely exclude a possibility that Gutmann misinterpreted the correction in [A] in this place. -
If the was added by Chopin, we would be dealing with Chopin's hesitation, who, correcting GC, changed f to f and confirmed timeliness of the original version with f, while later proofreading FE.
According to us, it is the first possibility that is more likely, yet in both cases the proofreading of FE means that Chopin's final decision in this place was an f.
In EE2, most probably under the influence of FE, on the last semiquaver of the bar was removed, whereas EE3 introduced the version of GE.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations
issues: Authentic corrections of FE
notation: Pitch