It is difficult to trace the evolution of the English first editions published between 1833 and 1840 because of major lacunae in the surviving source material. Judging from those compositions for which a relatively complete range of impressions exists, one observes that the entrepreneurial Wessel was inclined to modify the title pages of these prints with some frequency. The Polonaise Op. 3 offers a good example of the most common changes, namely updates to the firm’s business address, price increases and removal of redundant information (see 3–1-W, 3–1a-W, 3–1b-W). Another representative example can be found in the case of the Mazurkas Opp. 6 & 7, whose TPs were altered when these works were grouped into one or more series. Originally published in a collection entitled Souvenir de la Pologne, these two opuses were later assimilated into the series L’Amateur Pianiste, necessitating such revisions to the TP as the addition of references to the latter collection and replacement of the original numbering within the series by altogether new numbers (compare 7–1-W and 7–1a-W; see also 6–1-W).
Relatively few English first editions have individual title pages. WESSEL & C COMPLETE COLLECTION|OF|the Compositions|OF| FREDERIC CHOPIN encompassed all of the Chopin works on his list after its launch in October 1840, thus explaining why the Ballade Op. 38 and subsequent publications have only a series title page (although the latter changed considerably over time). Despite its importance, the COMPLETE COLLECTION was not the only series marketed by Wessel and his successors after 1840. The Etudes Op. 10 Nos. 2, 5, 7 & 10 and Op. 25 Nos. 1, 2 & 9 were sold in separate editions but with adapted versions of a passe-partout (see 10/5–1d-W, 10/7–1a-W, 10/10–1a-W, 10/2–1e-W, 25/1–1d-W, 25/2–1d-W, 25/9–1g-A&P). A similar approach was taken to the Mazurkas Op. 6 No. 1, Op. 7 No. 1 and Op. 33 No. 4 (see 6/1–1g-W, 7/1–1i*-W, 33/4–1f-W), as indeed to the Prelude Op. 28 No. 15 (see 28/15–1d-A&P). As for Chopin’s Trio Op. 8 – initially published with an ITP as part of the Series of Modern Trios – it was also produced with the STP of the Collection of Grand Trios Concertante for Piano Forte, Flute & Violoncello (see 8–1c-A&P).
English first editions published with a common title page include not only the sets of mazurkas referred to above (i.e. 6–1-W, 7–1-W, 7–1a-W), but also the Polonaises Op. 26 No. 1 and Op. 40 No. 1 (see 26/1–1d-A&P, 26/1–1e-A&P, 40/1–1f-A&P, 40/1–1f*-A&P), Waltzes Op. 34 (see 34/1–1-W, 34/2–1-W, 34/2–1a-W, 34/3–1-W) and Waltzes Op. 64 Nos. 1 & 2 published by Cramer, Beale & Co. and by Chappell & Co., as well as the works released in two volumes, namely Opp. 9, 10, 25 & 28 (see 9/3–1-W, 10/1-6–1-W, 10/1-6–1a*-W, 10/7-12–1-W, 10/7-12–1*-W, 25/1-6–1-W, 25/7-12–1-W, 28/1-14–1-W, 28/15-24–1-W).
Although widespread use of STPs meant that new ITPs were rarely needed in successive impressions, Wessel and his successors did devise tailormade title pages for the separate editions of certain works; this was also the practice of both Cramer, Beale & Co. and Chappell with regard to the Waltzes Op. 64 Nos. 1 & 2, for which three different CTP designs were conceived.
The price of most English editions increased several times over successive decades of commercial availability. The tables in Appendix I present relevant price information for the period from 1840 to c. 1892. Only one price decrease seems to have occurred: between 1836 and 1840, the Scherzo Op. 20 was sold for 4 shillings 6 pence, whereas from 1840 to 1844 it cost only 4 shillings (compare versions 1–11 of the COMPLETE COLLECTION).
 The text of their TPs suggests that other mazurkas and preludes from Op. 28 were sold in this format – hence the designation of these as STPs.
 Works published in separate editions with new TPs include the following: Nocturne Op. 9 No. 2 (9/2–1e-A&P), Nocturne Op. 15 No. 2 (15/2–1d-W), Andante Spianato Op. 22 (22/Andante Spianato–1b-W), Nocturne Op. 27 No. 2 (27/2–1c-W), Nocturne Op. 32 No. 1 (32/1–1h-W), Funeral March from Op. 35 (35/3–1a-W), Nocturne Op. 37 No. 1 (37/1–1d-A&P) and Nocturne Op. 55 No. 1 (55/1–1a-W).