NOTATIO

As I continue to edit the Chopin Etudes, more interesting examples occur which I will share as time allows. Here is a spot from the Etude op. 10 no 6. Chopin suddenly changes stem direction to show that 16th-notes 7-12 in measure 2 pick up from the previous bass note E as a bass voice imitating tenor voice 16th-notes 1-6 rather than merely continuing them. They then lead to the bass note in the next measure, which is also notated with a down stem.
This beautiful notation appears in none of the first editions or any successive edition known to me. The editors all "correct' it according to standard engraving practice. Here is the French first edition:
Obviously it would have been easier in terms of handwriting to continue the up stems.

Seeing this notation in the autograph has completely changed the way I play this measure.

It must be a very good reason to have these notes step-down. As a "handwriting" composer I would never do that without a strong purpose, since it is harder to notated it stem-down than just continue as it is. I would definitely use the manuscript version as the True one.
A question arises, if Chopin has been influencing the engraving process for the first edition and if it was his "amen" or not(?).

I agree, OCTO. No composer would do this without a good reason, and for that reason passages of this kind will be engraved as they stand in my edition.

Chopin added new material, like additional fingering and markings in the proof copies of the French first editions and these appeared according to his direction. But he was not able to not change things where the engravers were adhering to a house style, perhaps because of the considerable expense in doing so.