I don't know if O'Neill was aware that there are other designs in the Etteilla III that also come from the Nuremberg Chronicle. It does not seem so. But he does seem to have been the first to point out the connection. Unfortunately O'Neill's book is not online, nor in libraries, and tarot historians hardly ever refer to it these days; but on matters pertaining to tarot symbolism in its historical context, I think O'Neill's book is a good resource; and it is readily available for purchase from ATS in Australia. There is no index, unfortunately, but the chapter-headings are good clues. The point about the Nuremberg Chronicle is in the chapter on tarot in relation to Renaissance Art, in a footnote.Although we are not considering the Etteilla images in detail in this book, I would like to report a significant finding which I have not seen noted elsewhere. The early cards of the Etteilla deck: Chaos, The Sky, the Stars and the Birds and Fish are exact copies of the first five days of creation as illustrated in Hartmann Schidel's Liber Chronicarum(Nuremberg, 1493).
In relation to Etteilla, the significance of the five days of creation is that Etteilla related these same cards to the same five days of creation. It might be of historical interest to know in how many cases the designer of the Etteilla III deck correlated the Nuremberg images to the same days that Etteilla assigned to the corresponding cards. In any case, the Chronicle's use of particular images for particular days of creation, just as Etteilla had done, was probably what gave the designer the idea of using the Chronicle as a source of new designs for the Etteilla cards.