The Nameless World of Harry Potter
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Patterson 1
The Nameless World of Harry Potter
Diana Patterson
The title of this paper will be explained a bit later. But let me begin by describing the
origin of this research. I admit, openly, that my idea of what Harry Potter looks like is
Thomas Taylor’s Harry next to the Hogwarts Express, looking utterly amazed at all the new
information he is learning about the Wizarding world. I very much dislike the Harry with a
Superman cape who looks as if he is suffering from some mental weakness while flying on a
broom under an archway. I realize that had I seen the Mary GrandPré image along with my
first reading, I might feel differently about it. Still, my bias is out in the open.
Because I feel strongly about the American image, I began to wonder why a great
many of the translations used the American cover rather than the image which would have
accompanied the original book. This paper discusses how the use of the American cover
came about as part of the translation process, and the result of the publishing agreements
struck in the globalized publishing market.
Thus, this paper deals with publishing, a most appropriate subject for presentation at
the University of Reading, the home of Records of British Publishing and Printing, where the
archives of 39 publishing firms are located, as well as many related records from printers,
paper makers, writer’s unions, and so on.
Because I am not expecting my audience to be full of copyright lawyers and book
historians, I shall briefly supply some background about what someone like J.K. Rowling has
to sell as a commodity, and how we all get to read Harry Potter, and possibly, some of this
will be useful in explaining why the fan fiction that some of you write will not be legally
disseminated in hard copy to your readers.
The author of a novel typically gives to the publisher the right to make copies of the
work for a specific geographical area for a format (usually a book) or formats (film, audio
book, and so on). A first author, even one with an agent, usually gives first world rights: the
publisher can sell the book anywhere, and gets the whole edition, and can then sell the rights
to geographical subareas and any translations. The film rights may be explicitly excluded to
make the author feel good. With the average first novel, the author is giving away a great deal
on paper, but since the work is unlikely to go much past the author’s front door, nobody
really cares.
Occasionally, a book takes off, and the author realizes that the publisher has obtained
the world rights and sold a portion of those rights to another publisher or to a subsidiary. For
instance, they have sold the translation rights for one or two languages, or some foreign rights
in the same language, and the author gets a bit more in royalties and is happy. Once in many
blue moons, the rights of a book become a huge commodity, and the author and the original
agent wish they had conspired to sell only national rights, not world rights, or only one
language, or only one edition. But by then it is usually too late.
Joanne Rowling, of course, had a book that was a publishing phenomenon almost at
once. And the rights have been both a curse and a blessing, to the author, the agent, and the
readers around the world. The rights have taken on a kind of horrifying life of their own, and
those images of Mary GrandPré’s versions of Harry are an indication of just what has
happened in the sale of rights.
I cannot prove exactly what the first publishing agreement between Jo Rowling, The
Christopher Little Literary Agency, and Bloomsbury looked like. I do have some clues, and Ican tell you for certain that a great deal of the information available on the web about this
transaction is false or misleading. So beware.
The most reliable source for information (other than the books themselves) so far is
Sean Smith’s J.K. Rowling: A Biography, although there is suspect information even here.
Smith seems to have relied heavily on Bryony Evens, who used to work for the Little Agency
when Rowling submitted her manuscript but then left to join O’Mara Books, the publisher of
Smith’s biography of Rowling.1 Evens reports the usual terms are that Little receives his
profits based on a percentage of sales of books broken into areas (representing the sale of
rights) for the home market, film, US, and translations (Smith 135). These percentages would
imply that the Little Agency would attempt to negotiate these rights separately. On the other
hand, Evens had trouble getting a publisher to accept this book, which might have meant
some negotiations. James Aritchie points out that usually world rights are sold for a novel,
because one of the important things publishers make money on with novels is selling
subsidiary rights (Aritchie). The chances that with Rowling’s first book Little was able to
negotiate only UK or European rights seems incredible. And Forbes.com claims that it was
Bloomsbury that gave the proofs of Harry Potter and the Philosopher’s Stone to Arthur
Levine of Scholastic Publishing to read on the plane on his way back from the Bologna Book
Fair (DiCarlo). Sara Heiberger in her interview with Levine says he obtained the manuscript
at the Bologna Book Fair and read it on the way home (Heiberger). On the other hand, Smith
claims that Levine read the book on the way to the Bologna Book Fair (152), owing to the
fact that Janet Hogarth from Bloomsbury had left that firm to join Scholastic. The logical
place for the American rights to be auctioned would be at the Bologna Book Fair; that’s what
a book fair is about: selling rights. But all sources seem to claim that the auction happened in
New York, and that Christopher Little personally phoned Jo Rowling from New York to say
that Levine had bought the rights for $105,000, the largest sum ever paid at that time for the
rights to a children’s book (e.g., Smith 152-3). There are several problems with this
description of events. First is that the Bologna Children’s Book Fair is typically at the end of
March or at the beginning of April. Bloomsbury claims they published The Philosopher’s
Stone in June 1997, and that The Sorcerer’s Stone did not appear until October 1998
(Bloomsbury). Several sources claim that the US rights were sold within three days of the
publication of the Bloomsbury first edition (e.g., Gilan). Assuming this is so, Levine is
bidding on the rights in June, more than two months after the Bologna Children’s Book Fair,
whether he had been coming or going to it. What this should mean is that if the rights’ sale
had not been completed at the Bologna fair, they might have been put up for sale at
BookExpo America, a book fair that happens at the end of May or beginning of June each
year. But in 1997, BookExpo was in Chicago, not New York (Furtelle). And whether the
rights were being auctioned by Bloomsbury or Christopher Little is similarly problematic; the
Bologna book fair and BookExpo America have areas for both publishers and agents to
market their wares (Bologna, BookExpo America). The one absolutely reliable piece of
information is the verso (back) of the title page in the Arthur Levine edition of The
Sorcerer’s Stone which says that the book is published ‘by arrangement with Bloomsbury
Publishing Plc.’ By contrast, The Order of the Phoenix published by Arthur A. Levine Books
makes no mention of arrangements with anyone. Therefore, it is virtually certain that
Bloomsbury bought the English language rights, if not the world rights, for The
1
Smith’s book seems reliable, and yet as there are not proper footnotes, and no specific
interview with Evens is cited in the bibliography, exactly where information comes from is
disturbingly difficult to detect.Patterson 3
Philosopher’s Stone.
Owing to the huge sum he invested in Harry Potter, Levine knew he had to make it
pay. Thus he worked closely with Rowling to ‘adapt’ the text to the American market
(Heiberger). We know that he changed the title, and changed 80 words or phrases, which are
clearly mapped out in The Harry Potter Lexicon (Olsen). In addition, letters and documents
are written in script, small images were added to start each chapter, and the cover art was
changed to create an American-looking boy wearing a Superman cape, with sneaky and
mysterious magical images in the background, which look vaguely Arabesque. Although the
Lexicon does not note other changes, nearly every page of the text has been altered in the
American edition to include commas and periods according to something like the Chicago
Manual of Style editing policy. Alas, commas necessary for grammatical sense are often
ignored, but other commas are carefully added.
Another result of the huge sum Levine paid for the American rights is that he did not
attempt to acquire North American rights,2 thereby allowing a small distribution house in
Canada, Raincoast Books, to obtain Canadian rights. They are notable for being the first press
to have 100% recycled paper in The Order of the Phoenix, and thus having a special notice by
J.K. Rowling herself on the half-title page3 to praise their use of forest-friendly paper. Alas,
just to illustrate the insidiousness of rights acquisition, I shall point out that Listen Libraries,
publisher of the Jim Dale audiobook versions of the Rowling titles, did acquire the North
American rights, and thus, we Canadians get the English text, but the American audiobook,
so that some poor dyslexic following along in his book with Jim Dale reading is utterly
confused!4
A small digression is in order here to clarify some other publishing issues that have
become somewhat ridiculous rumours on the web. In the UK, Canada, Australia, South
Africa, and so on, it is possible to obtain Adult Editions of the Potter books. These adult
editions are not to make adult readers feel better about reading a child’s book on the
Underground. They were created in an act of retaliation for a political move made by the
booksellers and publishers associations. The Potter books were occupying the top spots on
the bestseller lists in the UK for months. There is an official bestseller list with data supplied
by booksellers (see thebookseller.com). So the booksellers’ association decided to create a
children’s bestsellers list to relegate Rowling to a kind of sideline. So Bloomsbury put out
editions of the books specifically stating that they were for adults. The Potter books again
reached the top of the adult bestseller lists, again angering the booksellers and publishers who
wanted newer books to appear at the top of this publicity instrument for selling books. This is
not an isolated incident. The bestseller producers pulled a similar stunt in 1996 when the
2
Note above that Smith’s retelling of Little’s method of collecting royalties mentions only
US rights.
3
The half-title is the page before the title page proper, usually having only the title, not the
publisher or date on it. Not all books have half-titles.
4
Jim Dale’s incomprehensible mispronunciation of Hermione’s name, possibly because he
felt that he should use an Americanised pronunciation, does not help the Canadian
reader/listener much either. I say this is incomprehensible because Jim Dale, born in
Northamptonshire, would have been well aware of the famous English character actress
Hermione Gingold, if no other Hermiones, given his age. Gingold died in 1987, when Dale
was 52 and had done a string of comic films, a medium in which Gingold was famous.bestselling books were the Penguin 60p titles. The bestsellers list simply disqualified these
Penguin titles from their lists as if they were not real books.
Also in October 1998, Warner Bros. bought the film rights to the first two books. By
the time the first film appeared in 2001, the rights took on a horrible life of their own. And
here is where the title of this paper, The Nameless World of Harry Potter, will become clear.
About 2000, Warner Bros. must have negotiated something beyond the film rights,
and bought the names of characters and things in Harry Potter and the ‘indicia,’ a term which
seems to mean the Harry Potter logo, originally appearing on the Mary GrandPré artwork,
drawn by her, apparently.5 This purchase of additional rights is unusual, although, as Ivan
Hoffman points out, children’s books always have more than just publishing rights, as they
might be accompanied by games, toys, and so on, the rights of which are sold as separate
commodities (Hoffman).
Non-English language translations that managed to be published before 2000 tend to
have artwork created by an illustrator commissioned by the non-English language publisher,
except for the modern Greek edition, published in 1998, which uses the Thomas Taylor
illustrations. But once we pass 2000, those books published previously which have managed
to get reprinted, and all subsequent translations up to about 2004, have or had at one point the
American HP logo, and have, usually in English, a statement that Warner Bros. owns the
names and indicia of Harry Potter. Those publishers who purchased translation rights after
1999 are very likely to use the American covers. The reason is Warner Bros.
Accio (2005) is the first UK conference about Harry Potter. But there are have been
other conferences in the U.S., Canada, and Australia. Those who have run these conferences
have had problems with using the name ‘Harry Potter’ because it belongs to Warner Bros.
And the people at Nimbus (2003) had problems even with advertising material related to
Harry Potter. At the Nimbus 2003 Symposium there was a session on copyright where
publishers of literary criticism shared their horror stories of dealing with Warner Bros. and
the Christopher Little Literary Agency who did not appear to understand the concept of
literary criticism, and wanted to limit the ability to quote from the original works as well as
use of the names and logos (Anatole). Both of these organisations have relaxed somewhat. Jo
Rowling has allowed fan fiction to use the copyrighted names, so long as they do not appear
in printed form. But still, using the name ‘Harry Potter’ can be dangerous unless it is
accompanied by a statement that it is copyrighted and trademarked by Warner Bros. Now the
name of this paper, ‘The Nameless World of Harry Potter’ may make some sense —
conferences and book titles often do not use the names of characters because those names are
Warner Bros.’ names and should have a copyright or trademark symbol beside them.
Similarly, fan fiction reusing Rowling’s names are tolerated so long as they remain in the
ether and not in printed form.
Let us now look at the impact of Warner Bros on the art work of the first Potter
5
There is some ambiguity because GrandPré is credited with the artwork, but is credited
jointly with David Saylor for the dust jacket design. Typefaces and lettering are usually
associated with the design rather than the illustration. The precise text on the title page verso
says:
Illustrations copyright © 1998 by Mary GrandPré All rights reserved.
Published by Scholastic Press, a division of Scholastic Inc. Jacket art by Mary
GrandPré. Jacket design by Mary GrandPré and David Saylor. This book was
art directed by David Saylor and designed by Becky Terhune. The art for both
the jacket and interior was created using pastels on toned printmaking paper.Patterson 5
volume, both for domestic publication and for the indigenous artwork that has or that might
have appeared on translations of Rowling’s works.
First, see what the film did to the British and Canadian version of The Philosopher’s
Stone. The early printings had a wizard in a fez-like version of a turban on the back cover.
Presumably this is Quirrell as Thomas Taylor imagined him. When Warner Bros. decided to
put Quirrell in a Sikh turban, the image on the back was changed to Dumbledore, who clearly
looks a bit more like the portrayal by Richard Harris in the film. You might notice that this
character seems to have a distorted right hand, which may have been why the drawing was
rejected originally.
Now turning to the translations, we can start with Japan because they had not gone
into a second printing of The Philosopher’s Stone as of 2004, when I was able to get a copy.
The Japanese artwork and translation are copyright-dated 1999. Many details in the book are
left in English, including the copyright information and the name ‘Harry Potter’ on the cover,
made into a logo with a broom. By the time The Chamber of Secrets was translated and
printed in 2000, the notice of Warner Bros.’s copyright of the characters and indicia
appeared, and the logo taken from Mary GrandPré’s artwork was now on the cover.
However, the Japanese have stuck with their artist, Dan Schlesinger.
The story is much the same with most, but not all, translations: if the translation rights
were acquired by 1999, the cover art is very likely done by a local artist. If the translation
rights were acquired after 1999, the cover art is most likely to be Mary GrandPré’s artwork,
sometimes altered in order to match the reading direction of the alphabet. Thus, although
Harry flies on his broomstick from left to right in the American original, he flies from right to
left in Hebrew, and Taiwanese because these languages read from right to left After 2000,
the lettering designed by Mary GrandPré was used by all translated editions, even those in
other alphabets, save for the Japanese, which uses the lettering only on the English name —
still it is there. So when a book was reprinted or went into a second edition, the lettering was
changed to use the Warner Bros.’ indicia somewhere on the cover. The most striking
examples are those using other alphabets, so that we can see Hebrew, Ukrainian, and Thai
lettering tortured into the lightning design created by GrandPré.
That this was Warner Bros.’ doing rather than a free choice is evident first by the
ubiquitousness of the logo, and secondly by the wording attached to each book in its
copyright statement, viz: ‘Harry Potter, names, characters and related indicia are copyright
and trademark Warner Bros., 2000.’6 This wording appears in English, exactly as stated,
except where there is a typographical error in the Czech version. So far I have found only a
few attempts to translate this copyright statement, in Spanish and in Hungarian, except for the
Bloomsbury publications in Welsh and Irish. The books have been translated presumably
6
The occurrence of the comma after ‘Harry Potter’ is very odd, and probably ought not to be
there syntactically, another indication of the dictation by Warner Bros., and possibly the fear
to translate the phrase. Only the Finnish translation leaves out that comma after ‘Harry
Potter’ possibly because someone knew English very well, rather than that the typist made an
error. And the Spanish translation uses ‘Harry Potter’ as an adjective rather than a noun, so
that someone here, too, saw that the comma was a mistake. Yet another quirky use of this
phrase occurs recently: Bloomsbury has taken to adding a trademark symbol at the end of the
phrase, which seems to mean that the year 2000 has been trademarked by Warner Bros. I
wonder if someone is having a good laugh. See the appendix below for Irish, Welsh, Latin,
and Ancient Greek translations.because the expected reader does not read English, or at least does not read English
comfortably, and thus the presence of this statement, exactly the same, in English appears to
be absurd, particularly in books in languages that do not use the Roman alphabet. Clearly
publishers have been ordered to reproduce this statement exactly, and so they have done so—
in some ways they have thus undermined the whole point of such a notice. Clearly the
important thing is that Warner Bros. could read the notice, not that any potential copyright
violator could read it.
Mary GrandPré, by the way, is not collecting royalties on all these uses of her design
of the Harry Potter name, nor on the reuse of her cover art. Heidi Tandy reported on a talk
given by GrandPré where she said that she did not own the copyright to her artwork, which
was sold for a lump sum payment, but she does receive some compensation ‘in lieu of
royalties’ (Tandy). Tandy goes on to claim that she understood Warner Bros. to have ‘some
rights to it as well.’ Clearly, Warner Bros. has bought the complete cover art in order to own
the ‘indicia.’ Precisely how the cover art is sold to non-English publishers seems to be
negotiated individually. I quote at length from Amber Fredman, a spokesperson for Warner
Bros.:
First, it is important for me to emphasize that J.K. Rowling has
retained most print publishing rights to Harry Potter. The publishing
agreements for the Harry Potter books are between the publisher and the
author, and are not between the publishers and Warner Bros.
Many of the terms of those agreements and the arrangements agreed
between the author and Warner Bros. that relate to their operation (the use of
artwork, etc.) are confidential. That said, I can say that different market trends,
local custom, business strategies and local laws have all played a part in
bringing about what you have observed in terms of the differences between
the various printings. (Fredman)
The interpretation of this official statement might be that most print publishing rights
means ‘after The Philosopher’s Stone’, when the value of the commodity allowed Rowling
and the Christopher Little Agency to market individual rights. Rowling’s control is also only
on the text of the books, so that each publisher starts with Rowling’s text, not the American
version of the text, a possibility that might be assumed considering the American cover art.
The ‘operation’ means any use of the name ‘Harry Potter’ which is owned by Warner Bros.,
meaning that there is no getting out of dealing with Warner Bros. in the creation of covers.
One clue to the precise moment when Warner Bros. purchased the cover art is
provided by copies of the dust jackets of The Sorcerer’s Stone. As it happens, I have two
hardcover copies of this volume, one the 29th printing, dated 1999, and the other the 38th
printing, dated 2000, and one 17th printing of the paperback edition, still dated 1999.7 The
1999 dust jacket says the cover art is copyright 1998 by Mary GrandPré. The 2000 dust
jacket says that the cover art is by Mary GrandPré but omits her copyright symbol. The
American paperback edition, first published in September 1999, still had Mary GrandPré as
copyright holder, and does not use the Warner Bros. phrase, so we may assume the Warner
Bros. purchase happened in early 2000. The interior of the book printed in 2000, however,
has not been altered to mention Warner Bros.
Because The Philosopher’s Stone is the book most likely to have been translated
before Warner Bros. began enforcing their indicia use in 2000, these are the covers that shall
be examined in the spoken version of this paper. See the tables below in the appendix for a
7
See the appendix at the end for the details.Patterson 7
detailed comparison of the differences in such things as copyright notices, use of logos, and
so on.
There are several points that can be seen by a detailed examination of translations.
First, the sudden shift to the use of the Mary GrandPré artwork after 2000 shows that Warner
Bros. sold the copyright of the artwork at the same price or with only a slight increase in
price as the trademarked name ‘Harry Potter’ with the lightning bolt. Most covers include the
symbol ™ beside that name when it is added to indigenous artwork, but most users of the full
GrandPré artwork do not.8
A particularly interesting example illustrating the shift to the full artwork is the
Turkish edition of The Philosopher’s Stone. Harry Potter ve Felsefe TaÕi was published in
2001,9 with a cover using only a portion of the Mary GrandPré artwork. In fact, the selection
is well made in that the cover is plain pink with the title, author and translator’s names in a
simple, sans serif typeface. Below the lettering is an arched-shaped portion of the American
artwork, showing Harry under an arch, catching the snitch. Since the titling has been removed
from the stone arch within the drawing itself, the snitch is much easier to see, and thus
Harry’s raised eyes seem to have a point and he looks considerably less foolish. GrandPré’s
artwork has all the arabesque qualities that would appeal to a middle-eastern audience—no
need for an indigenous artist in such circumstances. However, the copy as I received it had a
heavy wrapper placed around the original paper cover. The heavy wrapper has the full Mary
GrandPré artwork, including the trademarked ‘Harry Potter’ and the subtitle placed back on
the drawing, on the arch, again obscuring the snitch and making Harry look more than a bit
distracted. No mention is made of Warner Bros. copyright or indicia either within the book or
on the original or replacement covers.10 One suspects that the fact that Turkey did not sign
the Trademark Law Treaty until 2005, whereas the US signed it in 2000, might have had
something to do with this ability to ignore the use of Warner Bros.’ name as trademark holder
(WIPO).
What is noticeable in the late addition of the lightning-bolt name to artwork other than
GrandPré’s is that usually the style of lettering does not go well with the overall book design.
The French artwork by Jean-Claude Götting would be one I would single out for two reasons:
first, the artwork on the cover of the copy I own, which appears to be 2001, is very modern in
style and uses sans serif typefaces, except for the use of a serif type for the subtitle (À l’école
8
See the Appendix below for mention of the use of the trademark symbol on each cover and
title page.
9
The date 2001 may be a ‘publisher’s year’ date. Books published at the end of a calendar
year frequently have the date of the coming year placed on them so that they appear fresher to
subsequent purchasers. Thus any of the dates mentioned in these books, unless they also
include the month, may be publisher’s years rather than actual years.
10
The one printed change on the cover is the addition of the TEMA logo, motto and phone
number. TEMA is an organization that funds a number of ecological projects, research, and
public relations work. An organization that seems connected to the publisher appears to
contribute to TEMA (TEMA). But such an addition could have been made to the original
cover through the use of a much cheaper sticker. And another holographic sticker, from an as
yet unidentified organization, was added to the wrapper. That this addition of TEMA is not
the reason for the addition of the wrapper is clear: TEMA promoted reforestation and would
be against cutting down trees for the additional paper used in the wrapper.des sorciers); second, the covers of the first three books have been redesigned recently,
presumably since 2003, when Book 5 was published, because Book 5 has the trademarked
‘Harry Potter’, but the Harry Potter ‘indicia’ have been removed from the reprints of the first
three books and replaced by the typeface from the subtitle, clearly originally used for the full
title.11
Thus, this paper can end on an up beat. While Warner Bros. seems to have
repressively controlled the words ‘Harry Potter’, thus controlling much of the advertising, in
all languages and media, there are signs that they have understood that the many web sites,
books, translations, and fan fiction do not detract from the films but build interest in them.
The easiest method of seeing this change in attitude is in the post-2004 printings, or possibly
editions,12 or translations of the texts. Some of the new covers of editions using indigenous
artwork, besides Gallimard’s French translations, have dispensed with the Mary GrandPré
lightning-bolt lettering. So far these include the German translations published by Carlsen
and the Spanish translations published by Salamandra (Bloomsbury ‘Harry Potter’). This
change can only mean that Warner Bros. no longer fears for its franchise, and book designers
can get on with designing their book covers to suit their national artists and their personal
tastes. However, those translations begun just before the release of the first film are likely to
continue using the American art, and thus the Warner Bros. effect is going to be a lasting one.
Works Cited
Anatol, Giselle, John Granger, Edmund Kern, et al. ‘Publishing on Potter: Dodging the
Bludgers Panel Discussion.’ We Solemnly Swear These Papers Were Worth the Wait:
Selected Papers? from Nimbus-2003: A Harry Potter Symposium. Walt Disney World
11
The website for Gallimard, www.harrypotter.gallimard-jeunesse.fr/Pages/
Livres/GabaritLivres.html, as of 1 June 2005, still shows the original covers, but the
Bloomsbury website, www.bloomsbury.com/harrypotter/default.asp?sec=2, shows the
revised covers.
12
A new edition of a book is somehow significantly different from the first. The original
meaning was that the type had been reset—in other words, even if the pages contain
essentially the same words, someone had changed more than half the physical letters (Gaskell
313). The University of Chicago’s definition is that something significant has changed in the
text, the Preface, or the Afterword; they do not think that the paperback version of the text
should constitute a new edition (Chicago 1.21-22). Probably the truth lies somewhere
between these two. If the reference to a page number would change because words are now
on different pages, it makes sense to call the text a new edition. Thus, despite the publisher’s
title, the adult, children’s, and magic editions of all the Harry Potter books from Bloomsbury,
Raincoast, and Allen & Unwin are the same editions. Every word and every typo remains the
same on the same page. However, when Bloomsbury put out the new adult editions in 2004,
the pages are a completely different size, and so any reference to text from these books would
require different page numbers, and so the 2004 adult editions really are the 2nd edition of the
Potter texts, and cannot be called ‘reprints’ or ‘reissues’ which are really part of the same
edition just printed at a different time from the first printing. Here is a simple example: In the
PoA children’s edition (hard cover or soft), adult edition (1999), and magic edition, Harry
falls off his broom after seeing the Dementors on p. 134. In the 2004 adult edition, he falls off
on p. 194.Patterson 9
Swan and Dolphin July 17-20, 2003. Houston: HP Education Fandom, 2004.
Aritchie, James. ‘The Write Community — First Novel Draws $2M.’ Post 16 Jul 2004,
08:33:34. www.writermag.com/wrt/community/forum/topic.asp?page= -
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Bloomsbury. ‘Harry Potter’ Path: Harry Potter; Books; Foreign www.bloomsbury.com/
harrypotter/default.asp?sec=2.
——— . ‘Time Line’ www.bloombury.com Path: Harry Potter; Books; Timeline.
Bologna Children’s Book Fair. www.bookfair.bolognafiere.it
BookExpo American. www.bookexpoamerica.com
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DiCarlo, Lisa. ‘The Transformers:Harry Potter And The Triumph Of Scholastic’.
Forbes.com. 9 May 2002. /www.forbes.com/2002/05/09/0509harrypotter.html
Fredman, Amber. ‘Warner Bros agreements with publishers of translations.’ Personal e-mail
to Diana Patterson. 20 October 2004.
Futrelle, David. ‘Bookend’ Salon Magazine. 4 July 1997. archive.salon.com/june97/media
/media970604.html
Gaskell, Philip. A New Introduction to Bibliography. New York: Oxford UP, 1972.
Gilan, Galit.‘Book Beat: Potter Mania’ [2003] www.tim.co.il/main/siteNew/
index.php?page= 52&stId=880&action=display
Heiberger, Sara. ‘Arthur Levine ’84: How the best-selling wizard got to the New World’.
Brown University Alumni Magazine. Dec. 2001. /www.brownalumnimagazine.com/
storydetail.cfm?ID=421
Hoffman, Ivan. ‘Children’s Book Publishing.’ 2002. www.ivanhoffman.com/
childrenspublishing.html
The Hogwarts Gallery. ‘Books Cover Art.’ www.hogwarts-gallery.org/
hogwartsgallery/category.php?cat=176&expand=169,176,169,169&start=32 , pages
3–5.
Olsen, Edward. ‘British/US Editions’ Harry Potter Lexicon. www.hp-lexicon.org Path: Enter;
British/US Editions.
Smith, Sean. J.K. Rowling: A Biography. Rev. ed. London: Michael O’Mara Books, 2003.
Tandy, Heidi. ‘Report from the Mary GrandPré Talk’ The Leaky Cauldron. 17 Nov. 2003.
www.the-leaky-cauldron.ord/MTarchives/week_2003_11_16.html
TEMA. The Turkish Foundation for Combating Soil Erosion, for Reforestation, and the
Protection of Natural Habitats. english.tema.org.tr. Path: About Us; Our Supporters
WIPO. Word Intellectual Property Organisation. ‘Treaties and Contracting Parties’ c. 1
January 2005. www.wipo.int/treaties/en/ Path: Trademark Law Treaty; Contracting
Parties.Appendix I
Harry Potter title page verso information on copyrights
Taken from The Philosopher’s Stone (save in the U.S. where it is The Sorcerer’s Stone):
Editions with the Mary GrandPré Illustrations
American. Arthur A. Levine. (New York: hardcover 1998; this printing 38/00; also checked
against 29/99) From title page verso: ‘Illustrations copyright © 1998 by Mary
GrandPré All rights reserved. Published by Scholastic Press, a division of Scholastic
Inc., Publishers since 1920 by arrangement with Bloomsbury Publishing Plc. . . . First
American edition, October 1998.’ On the dust jacket of the 29th printing: Jacket art ©
1998 by Mary GrandPré Jacket design by Mary GrandPré and David Saylor’ On
the dust jacket of the 38th printing: ‘Jacket art by Mary GrandPré Jacket design by
Mary GrandPré and David Saylor.’ Colophon: ‘This book was art directed by David
Saylor and designed by Becky Terhune. The art for both the jacket and interior was
created using pastels on toned printmaking paper. The text was set in 12-point Adobe
Garamond, a typeface based on the sixteenth-century type designs of Claude
Garamond, redrawn by Robert Slimback in 1989. This book was printed and bound at
Quebecor Fairfield, in Fairfield, Pennsylvania. The production was supervised by
Angela Biola and Mike Derevjanik.’ The Lightning logo appears only on the dust
jacket. The title page and gold embossing on the spine use the Hogwarts typeface.
The American edition has made the following physical changes to the text: an
illustration appears at the start of each chapter, and letters and other documents are
made into facsimiles, with signatures, pseudo-printing, letterheads, and so on.
Israeli. Proza (Tel Aviv: 2001) From title page verso: ‘Cover Artwork © Warner Bros. A
division of Time Warner Entertainment Company L.P.’ There is no obvious mention
of internal illustrations, yet this edition has a full set of internal MG illustrations for
chapter titles. Letters are somewhat italicized, but not elaborate facsimiles. The verso
of the title page incorrectly attributes the 2000 date to J.K. Rowling, rather than WB.
The name ‘Hari Potr’ in Hebrew has been written so that two of the characters, ‘h‘’
and ‘hôl.m-v~v’ have their stems turned into lighting bolts in the manner of MG.
This logo style of name does not appear on the title page; however, the Hogwarts
crest from the UK edition appears on the verso of the half-title. Indicia are not
mentioned. Mary GrandPré’s name, transliterated into Hebrew, appears on the inside
cover flap at the front, but without a copyright symbol.
Portuguese. Editorial Presença (Lisboa: claims to be 11th edition. 1st edition 1999; 11th 2001)
Translation by Isabel Fraga. This volume was later retranslated. From the title page
verso: ‘Capa: Illustração de Mary GrandPré © Warner Bros. A division of Time
Warner Entertainment Company L.P.’ There are no internal illustrations. Letters and
documents are in italics. The ‘Harry Potter’ lightning logo with ™ appears on the
front cover, and without the ™ on the spine. The ‘HP’ logo with the snitch appears
without a ™ on the back. Neither logo is used inside.
Hungarian. Animus (Budapest: 2001) From the title page verso: ‘A Harry Potter nevet, a
könyvsorozat szereplÅinek, színhelyeinek és tárgyainak nevét engedély nélkül
felhasználni tilos. Warner Bros. © 2000 Illustrations [but there are no internal
illustrations] by Mary GrandPré from Harry Potter and the Sorcerer’s Stone by J.K.Patterson 11
Rowling. [sic] Published by Arthur Levine Books, an imprint of Scholastic Press, a
division of Scholastic Inc. Illustrations copyright © 1998 by Scholastic Inc.’
Obviously some of this is incorrect according to the American edition. The only
internal illustration is a small owl, not by GrandPré, that appears on each chapter
uniformly. Letters, etc. are in a typewriter face. The ‘Harry Potter’ logo appears on
the front cover portion of the cover and dust jacket — these are identical — on the
half-title, and on the title page, all without the ™.
Brazilian. Rocco (Rio de Janeiro: 2000) From title page verso: ‘Arte de Capa © Warner Bros.
A division of Time Warner Entertainment Company L.P.’ Indicia are not mentioned
and Mary GrandPré is not mentioned within the book nor on the cover. There are no
internal illustrations. A note on the back cover flap claims that the book is already
translated into 31 languages in 42 countries. The ‘Harry Potter’ logo is is on the front
cover trademarked, but not on the spine, back or anywhere inside. The title page uses
the typeface from the UK edition, and uses the Hogwarts crest. Letters and other
documents are in italics and small caps.
Norwegian. N.W. Damm & Søn. ([Oslo]: 2000) From the title page verso:
‘Omslagsillustrasjon: © Warner Bros. A division of Time Warner Entertainment
Company L.P. . . .Published by agreement with Christopher Little Literary Agency,
London. ’ There is no mention of indicia. The ‘Harry Potter’ logo (in blue and purple)
appears on the cover, on the half-title, and on the title page without the ™ symbol. It
does not appear on the spine, or the back. The Hogwarts typeface appears on the dust
jacket, the covers, and extensively inside. Letters and documents are in facsimile, but
there are no internal illustrations. Mary GrandPré is not mentioned within the book,
nor on the dust jacket.
Russian. Rosmen (Moscow: 2000) From title page verso: ‘Illustrations by Mary GrandPré
from HARRY POTTER AND THE SORCERER’S STONE by J.K. Rowling.
Published by Arthur Levine Books, an imprint of Scholastic Press, a division of
Scholastic Inc. Illustrations copyright © 1998 by Scholastic Inc. Used by permission.
[except there are no internal illustrations.] Cover Artwork © Warner Bros. A division
of Time Warner Entertainment company [sic] L.P. Harry Potter, names, characters
and related indicia are copyright and trademark Warner Bros. © 2000’. Letters and
other internal documents are italicized only. The ‘Harry Potter’ name, transliterated
into Russian, in a design attempting to look like GrandPré’s design, has at trademark
symbol beside it. Interestingly, the character like gamma, representing G, begins
Harry’s name, so he is Garry Potter, and that gamma has been turned into the
lightning bolt. Compare this transliteration with the Bulgarian version. The Warner
Bros. ‘HP’ design also appears on the cover with a trademark symbol. Both of these
trademarked images appear on the title page as well. It would appear that someone is
unclear about what all this English verbiage means.
Bulgarian. Egmont Bschchlgariya. (Sofia: 2001) From the half-title verso: ‘Harry Potter,
names, characters and related indicia are copyright and trademark Warner Bros. ©
2001 [sic] Cover Artwork ©Warner Bros. A division of Time Warner Entertainment
Company L.P.’ A lightning logo without ™ appears on the front cover, the half-title,
and the title page, but not on the spine. The Hogwarts crest from the UK edition is
also on the half-title page. The Bulgarian transliteration of the title is ‘Khary Pot’r’
where the pi-like character has received the lightning-bolt treatment. Compare this
transliteration with the Russian version. There are no internal illustrations. Letters andother documents are in italics.
Thai. Nanmeebooks (Bankok: 2544 = 2001) From the title page verso: ‘Illustrations by Mary
GrandPré from Harry Potter and the Sorcerer’s Stone by J.K. Rowling. Published by
Arthur Levine Books, and imprint of Scholastic Press, a division of Scholastic Inc.
Cover Artwork © Warner Bros. A division of Time Warner Entertainment Company
L.P. Copyright arranged with Christopher Little Literary Agency 10 Eel Brook
Studios, 125 Moor Park Road, London SW6 4PS, England Through Tuttle–Mori
Agency Co., Ltd. Bangkok Harry Potter, names, characters and related indicia are
copyright and trademark Warner Bros. © 2000’. GrandPré’s chapter illustrations are
used. The letters and documents are facsimiles in close approximation to the
American edition’s. The snitch on the cover has been removed and replaced by the
Warner Bros. ‘HP’ with snitch logo with a very tiny ™ below it.
Taiwanese. Choice (seemingly an imprint of Crown Publishing). (Taipei: 2000): Contains a
full poster of the cover artwork, presumably for removal. It has been reversed in
keeping with the format of the book (right to left, rather than left to right). The poster
has the full English lettering, and no Chinese characters except the copyright notice,
which is beneath: ‘© Warner Bros. A division of Time Warner Entertainment
Company L.P.’ The cover flap says ‘Mary GrandPré’ with all other characters on the
wrapper in Chinese. Within the text block, the copyright material is in a colophon (at
the front by English reading direction): ‘Illustrations copyright © Warner Bros. A
division of Time Warner Entertainment Company L.P. Complex Chinese Edition
Copyright© [sic] 2000 by Crown Publishing Company Ltd., a division of Crown
Culture Corporation. Complex Chinese Characters edition arrangement [sic] with
Christopher Little Literary Agency. Harry Potter, names, characters and related
indicia are copyright and trademark Warner Bros., 2000. All Rights Reserved.’ The
Mary GrandPré chapter illustrations are used for titles and as running heads (although
some are simplified in the heads). The cover contains both Chinese complex
characters modified to create a lightning-bolt title, plus the English ‘Harry Potter’
logo with ™. The ‘HP’ with snitch logo with ™ appears on the back cover. English
words of the title and the author’s name are also in English, mixed with Chinese.
Letters are simply in a smaller font, but the Hogwarts list includes something that
looks like chops, presumably to represent a letterhead.
Croatian. Algoritam. (Zagreb: 2001). Facing the title page: ‘Cover Artwork © Warner Bros.
A division of Time Warner Entertainment Company L.P. Harry Potter, names,
characters and related indicia are copyright and trademark Warner Bros. © 2000’. The
trademarked ‘Harry Potter’ appears on the title page, and on the spine without the ™.
The ‘HP’ logo with the snitch appears on the back cover with the ™ symbol. The title
page, however, has the words ‘Harry Potter’ in the same font as the UK edition and
the Hogwarts crest from the UK edition. The cover artwork is repeated for use as
endpapers. There are no internal illustrations. Letters have in italics and full caps in
some attempt to create facsimiles.
Korean. Moonhak Soochup (Gyunggi:1999) Published as 2 vols. On the front jacket flap:
‘Jacket art © 1999 by Mary GrandPré Jacket Design by Mary GrandPré and David
Saylor.’ On the title page verso: ‘Translation Copyright © 1999 by Moonhak Soochup
Publishing Co. Korean translation rights arranged with Christopher Little Agency
through Eric Yang Agency, Seoul, Korea.’ No mention is made of Warner Bros.
‘Harry Potter’ transliterated into Korean has one character with a lightning-bolt stem.
This character design is used on the front cover, the half-title, and title pages of bothPatterson 13
volumes. The chapter illustrations and title page illustrations appear exactly as they do
in the US edition, including the use of the chessboard squares. Facsimile letters look
very much like US ones.
Turkish. Yap2 Kredi Kültür Sanat Yay2nc2l2k. (Istanbul: 2001) Nowhere in the book is
Warner Bros. or Mary GrandPré mentioned. This volume has a paper cover of plain
pink with an arch-shaped portion of the original GrandPré drawing on the front. It
show Harry under his arch catching his snitch, which is very clear because no writing
has been used to cover the arch. The back cover has a small circle showing
GrandPré’s Harry’s face only. On the back cover the following credit appears: ‘Kapak
Resmi: Mary GrandPré - David Saylor’. Above this credit is a mention of the number
of fans, the many translations, and the Harry Potter film. A cardboard wrapper has
been added to obscure the original cover. It uses the full GrandPré artwork, including
the ‘Harry Potter’ in lighting bolt form and ‘J.K. Rowling’ in Hogwarts typeface. No
trademark symbols appear, however. The same credit appears: ‘Kapak Resmi: Mary
GrandPré - David Saylor’ on the back. The wording of the blurb on the back cover
has not changed. There is no mention of Warner Bros. on either jacket. The only
addition on this jacket is ‘TEMA Türkíye çöl olmasin!’ followed by a phone number.
A holographic sticker has been placed on the new wrapper which says ACE KÍM but
within the holographic image has a picture of Turkey with the crescent moon and star,
and TC KB, a tree symbol. There are no internal illustrations, and letters and
documents are in italics only.
Slovakian. Ikar. (Bratislava: 2000) From the title page verso: ‘Illustration copyright © 1998
by Mary GrandPré Cover Artwork © Warner Bros. A division of Time Warner
Entertainment Company L.P. . . . Harry Potter, names, characters and related indicia
are copyright and trademark Warner Bros. © 2000 [the WB HP logo with the snitch]
Harry Potter™ - Trademark’. The cover has the ‘Harry Potter’ lightning bolt name in
white, with no trademark symbol, and the number ‘1’; at the bottom of the front cover
are two logos, the ‘HP’ logo with the snitch ™ and the ‘iKAR’ logo. The title page
looks like the American title page, with the addition of the two Warner Bros. logos:
the full ‘Harry Potter’ and the ‘HP’, only the second has the ™. The Mary GrandPré
chapter illustrations appear as in the US edition, and the letters attempt something like
the American facsimiles.
Faroese. Bókadeild Føroya Lærarafelags (Tórshavn: 2000) From the title page verso:
‘Artwork, cover and illustrations © Warner Bros. - a division of Time Warner
Entertainment Company L.P. Givin út í samstarvi við Christhoper [sic] Little Literary
Agency, London Upprunaforlag: Bloomsbury Publishing Plc, 38 Soho Square,
London W1V 5DF Prentumsiting: Spf. Hestprent, Tórshavn Prentað í Danmørk’.
The full Mary GrandPré artwork appears on the cover, including the ‘Harry Potter’
lightning title, but with no trademark symbol. It similarly appears on the spine. The
‘HP’ logo with the snitch but without the ™ appears on the back cover. There is no
mention of Mary GrandPré’s name, although her internal illustrations are used for
each chapter. Letters are in italics and caps; no serious attempt at facsimiles was
made.
Editions that appear to use the US artwork, but which had not been examined:
Afrikaans
Estonian [website incorrect on JKRowling.com. It should be.
http://www.varrak.ee/books/7/]Georgian
Indonesian
Lithuanian
Polish
Serbian has taken U.S. artwork and cut it down to fit in a frame on the cover.
Czech revised edition. See a Czech edition under Indigenous Illustrations.
Editions with Indigenous Illustrations:
French. Gallimard ([Paris]: 2001). Back cover: ‘Illustration de Jean-Claude Götting’. From
the half-title verso: ‘Harry Potter, names, characters and related indicia are copyright
and trademark Warner Bros., © 2000. . .© Édition Gallimard Jeunesse, 1998, pour la
traduction française © Édition Gallimard Jeunesse, 1999, pour la présente édition’.
From the colophon: ‘Conception de la mise en page: Françoise Pham . . . Premier
dépôt legal: novembre 1999 Dépôt legal: janvier 2001 Imprimé sur les presses de
la Société Nouvelle Firmin-Didot No. d’impression: 54273’. The ‘Harry Potter’ logo,
with the trademark symbol appears on the front cover, the spine, and the title page.
The ‘HP’ logo with trademark symbol appears on the back cover. There are no
internal illustrations and no Hogwarts typeface. Letters and documents are in italics,
caps and bold, but there is no consistency or real attempt at creating facsimiles.
Spanish. Salamandra (Barcelona:2001 – claims to be 26th ed.) From the title page verso:
‘Ilustración: Dolores Avendaño. . . El Copyright y la Marca Registrada del nombre y
del personaje Harry Potter, de todos los demás nombres propios y personajes, así
como de todos los símbolos y elementos relacionados, son propiedad de Warner Bros.
© 2000’ 1a edición, marzo de 1999 26a edición, mayo de 2001’. This edition is
interesting because the images on the front are clearly derived from Mary GrandPré.
The ‘Harry Potter’ logo with ™ appears on front cover, but not on the spine, title page
or half-title. The lettering within and on the spine and half-title are uniformly a
sanserif font that is intended to look as if it is from a modern manuscript. No
Hogwarts typeface, internal illustrations, or facsimile letters appear in the book. The
letters and documents are simply in italics.
Italian. Salani Editore (Milano: 2001 –16th printing). From the dust jacket: ‘In copertina:
illustrazione di Serena Riglietti.’ From title page verso: Prima edizione: maggio 1998
.. . Sedicesima ristampa: giugno 2001 . . . Copyright © 1998 Adriano Salani Editore
s.r.l. Milano, Corso Italia 13’. Warner Bros. is not mentioned in the book, on the
cover, or on the dust jacket. The ‘Harry Potter’ logo with ™ appears on the dust
jacket, and Rowling’s name appears in the Hogwarts typeface. The ‘HP’ logo with ™
appears on the spine of the cover, and without the ™ on the spine of the dust jacket.
The name ‘Harry Potter’, in a serif typeface (but with very tiny serifs), appears on the
spine of the dustjacket. The title page has the title in a typeface that looks like a very
bad, old-fashioned typewriter which has typed on wet blotting paper. No Hogwarts
typeface is within. Many internal illustrations by Serena Riglietti are in the middle of
chapters, seemingly wherever an idea caught her fancy. There are no facsimile letters
or documents.
German. Carlsen Verlag (Hamburgh: 35th printing 2001). From the title page verso: ‘Alle
deutschen Rechte bei Carlsen Verlag GmbH, Hamburgh 1998. . .Harry Potter, names,
characters and related indicia are copyright and trademark Warner Bros., 2000
Umschlaggestaltung: Doris K. Künster. Umschlagillustration: Sabine Wilharm’.Front
cover contains ‘Harry Potter’ logo with ™; the spine has both the ‘Harry Potter’ logoPatterson 15
and the ‘HP’ with snitch, both with ™. There are no facsimiles, no use of the
Hogwarts typeface, no internal illustrations, and no use of the logos internally.
Danish. Gyldendal. (Københaven: 2001). From title page verso: ‘Published by agreement
with Christopher Little Literary Agency, London . . .Harry Potter, names, characters
and related indicia are copyright and trademark Warner Bros. © 2000 Omslag: Per
Jørgensen. Typografisk tilrettelægning: Mogens Christensen. 2. udgave (=edition),
12 oplag (=printing)’. ‘Harry Potter’ logo without trademark symbol, on the front
cover and the spine. ‘Harry Potter’ logo with ™ on the title page. There are no
internal illustrations, no Hogwarts typeface, and no facsimile letters and documents.
There is no mention of a copyright date or printing date for the first edition of the
book or for the translation, but the title page verso mentions the existence of CoS,
PoA, and GoF available from this publisher.
Finnish. Kustannusosakeyhtiö Tammi (Helsinki: 2001) From the title page verso: ‘12. painos
[printing or impression] . . . Harry Potter [sic — no comma] names, characters and
related indicia are copyright and trademark Warner Bros. © 2000’. From the back
cover: ‘Kannen kuvat [Cover imagery]: Mika Launis.’ There is no date given for the
translation copyright, or the first printing, but the verso of the half-title page and the
back cover mentions PS, COS, PoA, and GoF. There are no Hogwarts typefaces, no
internal illustrations, and no facsimiles of letters and documents. The ‘Harry Potter’
logo with the ™ appears on the front cover, half-title, and title page, but without the
™ on the spine.
Swedish. Tiden. (Stockholm: 2001). From the title page verso: ‘Omslagsillustration: Alvaro
Tapia Formgivning: Karin Huber/himlaform. . . .Tryckt [printed] hos AiT Falun AB,
Falun 2001 Published by agreement with Christopher Little Literary Agency,
London. . .’ Neither the copyright date of the translation, nor the date of the original
printing in Swedish is given, but the page-facing-the-title-page lists CoS (2000) and
PoA (2001). There is no mention of Warner Bros. inside the book or on the cover.
The ‘Harry Potter’ logo without the ™ appears on the cover, the spine, the flyleaf, and
the title page. While there are no internal illustrations, stars and pages of white stars
on a black field are used as endpapers, and as separators between chapters. The
Hogwarts typeface is never used, but the facsimile letters are even more elaborate
than the American ones; the British Hogwarts crest appears on the title page.
Czech Republic. Albatros. (Praha: 2000). From the title page verso: ‘Harry Potter, names,
characters and related indicia are copyright and trademark Warnen [sic] Bros. © 2000
Translation © Vladimír Medek 2000 Illustrations © Galina Miklínová, 2000. The
‘Harry Potter’ logo with the ™ is used on the cover, the spine, a two-page spread that
creates a half-title, and the title page. The artist has had much fun with the lightning
bolt, using it on the half-title spread, on the frontispiece, on the title page verso, and
as part of the page number footer on every page! There are internal illustrations by
Miklínová, including a fanciful map from the Dursleys’ to Hogwarts used as
endpapers. The letter and document facsimiles are the most elaborate I have seen.
There is no use of the Hogwarts typeface. However, there is a preview of The
Chamber of Secrets volume at the back, and it uses the complete Mary GrandPré
artwork. When The Philosopher’s Stone was re-edited, it was given the Mary
GrandPré cover, and appears to have been reformatted to fit the American design, as
this original Czech version is much longer than wide. A look at www.albatros.cz/
phprs_harry/ show the covers of books 1-5; all now have the Mary GrandPré artwork,but on the same webpage, the Czech version of David Colbert’s The Magical Worlds
of Harry Potter is in Albatross’s preferred aspect ratio.
Dutch/Flemish. De Harmonie / Standaard (Amsterdam and Antwerpen: 3rd ed. March 2001)
From the colophon: ‘Omslagillustratie: Ien van Laanen, Amsterdam. Grafische
verzorging: Anne Lammers, Amsterdam. . . . © Copyright Nederlandse vertaling 1998
Uitgeverij De Harmonie, Amsterdam en Wiebe Buddingh’. [sic] . . .Harry Potter,
names, characters and related indicia are copyright and trademark Warner Bros., 2000
Eerste druk gebonden editie oktober 2000 . . .Derde druk gebonden editie maart
2001’. The ‘Harry Potter’ logo without the ™ appears on the cover, the spine, and the
title page. The ‘HP’ logo with the snitch with the ™ appears on the back cover. There
are no facsimile letters and documents and no Hogwarts typeface. The owl from the
back cover appears as a frontispiece; otherwise there are no internal illustrations.
Japanese Say-zan-sha Publications (Tokyo: 1999) From the title page verso: ‘Copyright ©
Cover & illustrations Dan Schlesinger 1999 Copyright © Cover design Jun Koseki
1999 Copyright © Translation Yuko Matsuoko 1999 Japanese edition © Say-zan-
sha Publications Ltd. Tokyo This book is published in Japan by arrangement with the
author through the Christopher Little Literary Agency.’ The Harry Potter broom logo
created by Say-zan-sha is used on the front cover, and a portion of the broom is used
on the title page. Internal illustrations by Schlesinger appear at the start of each
chapter. Letters and documents are in elaborate facsimile form. No verbal or visual
allusion is made to the US edition, to Warner Bros., or to Mary GrandPré except for
the idea of facsimiles, which look nothing like the American ones.
Editions unseen and artwork unknown from any source:
Albanian
Greenlandic
Icelandic
Slovenian
Editions usingThomas Taylor illustrations:
Modern Greek. Ekdoseis Psichogios (Athena: 11th reprint, August 2001) From half-title verso
[transliterated]: ‘Theorese keimevou: Giorgos Christopoulos Exophullo: Thomas
Taylor . . .© EKDOSEIS PHYCHOGIOS A.E., Athena 1998 gia ten ellenike glossa ©
Eikonographese exophullou Thomas Taylor, 1997 Harry Potter, names, characters
and related indicia are copyright and trademark Warner Bros., 2000. Prote ekdose:
Noembrios 1998 Endekate anatupose: Augoustos 2001’ The ‘Harry Potter’
transliterated into Greek, and the ‘HP’, untransliterated, both appear on the front
cover with the ™ symbol. The full ‘Harry Potter’ appears on the spine, half-title, and
title page, all trademarked. The Hogwarts crest appears on the title page also. Letters
and documents are in italics only. The Smarties award mention appears on the cover
in simple type, and on the title page with various levels of shading plus stars, trying to
give the impression of twinkling. There are no internal illustrations.
Latin. Bloomsbury (New York and London [sic]: 2003). From title page verso: ‘This edition
first published in 2003 by Bloomsbury Publishing Plc, New York and London
[followed by addresses in London then New York] . . .Harry Potter, names, characters
and related indicia are copyright and trademark Warner Bros. 2000™ . . .Printed and
bound in Great Britain by Clays Ltd, St Ives plc Typeset in Berkeley Old Style by
Palimpsest Book Production Limited, Polmont, Stirlingshire First Edition’ There areYou can also read
