Several originals, mainly hand-written books in Latin and German, for example, ”Rīga misāle”(Riga Missal) (the 14^th century) represent the earlier monuments of the Latvian book art. The first texts in the Latvian language were printed in Germany in 1525, but in 1585 the first printing house was opened in Riga.

Until the middle of the 19^th century the initiators and publishers of Latvian books were solely foreigners- mainly clergymen. Their interests had found expression in the book repertoire for Latvians. Prior to the second half of the 18^th century it was mostly of a religious character, with the exception of some texts in law, linguistics and ABCs. Polygraphic and graphic book design was modest, being enriched only by a few illustrations. In mid 19^th century with the appearance of Latvian authors and book initiators the situation changed.

Up to the 70s of the 19^th century in the Latvian book art there was an adaptation period of borrowings. The import of stereotypes or previously circulated illustrations, book printing abroad (mainly in Germany), paraphrasing and copying of unfamiliar illustrations was applied into practice. Original illustrations of a local source occurred seldom. Up to the middle of the 18 ^th century all illustrations in the books were printed woodcut stereotypes but starting from the middle of the century copper engraving and etching were applied in a book art.

At the dawn of the 19^th century lithography gained rapid popularity. At the same time woodcut aroused the interest of local artists.

Possessors of a book wished to have it for a longer time pleasant to look at and to handle with. Manifestation of the folk art in cover designs compensated the deficiency of artistic quality of a book.

Primitive forging applied to a book cover is considered the first significant demonstration of esthetical taste in a book art of remote European provinces, namely Latvia.

The middle of the 19^th century marked a radical turn in a book art. It concurred with the development of Latvian intelligentsia, outburst of ideological contradictions between Latvian intelligentsia and Baltic German clergy, springing up of the movement of Neo- Latvians which had given its contribution to the formation of our national book publishing. A number of the books published grew rapidly and their functions deepened.

A book was an object in Latvian families used daily. The first illustrated books of fiction were published, introducing woodcut, black and white lithograph, and chrome lithograph into a book design.

Augusts Daugulis, (1830-1899) the first Latvian professional graphic artist (wood engraver) started his activities.

In the middle of the 19^th century books of an insignificant content gained wide popularity. They were often illustrated books with thematic, usually colourful pictures on covers to attract a customer. Such output contrasted with conventional, visually and thematically monotonous, religious publications.

The last quarter of the 19^th century gave rise to the preconditions for all-round development of the Latvian book art. Material and economic conditions strengthened, professional artists were interested in graphics and the society yearned for an artistic printed matter of high quality. Illustrations made by woodcutters Kārlis Kronvalds and Mārtiņš Bušs heralded the outset of the national book art.

Editions de luxe of the 20-30s of the 20 ^th century manifested the maturity of Latvian book art. To realise the intentions of publishers they co-operated with talented artists – Niklāvs Strunke, Jānis Plēpis, Uga Skulme, Sigismunds Vidbergs and many others.

Perfect book design and versatility of handwriting was typical to them. At the outset of the 20th century the publishing house Leta was the first to publish editions de luxe. The endeavours of Leta resulted in two miniature books with colourful illustrations (Artists Niklāvs Strunke and Uga Skulme). Several other publishing houses issued editions de luxe, as well, receiving incontestable acknowledgements.

In 1936 the publishing house Zelta Ābele (The Golden Apple- Tree) founded by Miķelis Gopers started its activities with the aim to create high quality output of publishing and printing industry. Until the beginning of World War II his intentions were successfully realised. Under the German occupation the quality of books issued by Miķelis Gopers was not homogenous. Editions published by Zelta Ābele were of a small size, illustrated in traditional techniques- woodcut, woodengraving, copper engraving, and etching. Paper and binding materials were specially selected for every single edition.

At the end of World War II Miķelis Gopers emigrated to Sweden, where he continued the work started in Latvia. In the Soviet period editions de luxe were considered to be inappropriate for the public and unreasonable for publishing. In the recent years feeble attempts are made to create such books.

When Latvia regained its independence in 1991 publishing and printing industry was in deep crises. Several years were required to modernise that branch. New technologies essentially and rapidly changed the whole process of production, as well as conditions for artists to a certain extent. They had to acquire knowledge and skills to work with a computer. Infatuation with this media, its vehement exploitation in a book design proved to be a mere technical novelty. In the second half of the 90s designers and illustrators widened the diapason of imagery paying a greater attention to handicraft.

In comparison with the Soviet publications a book has acquired a modern appearance in an independent Latvia of the last decade. Breakdown of the state monopoly caused a rapid development of the branch fostered by a private incentive. Now 60 private publishing houses are operating in Latvia. The process of specialisation is taking place in the field of book publishing, for example, the publishing house ”Zvaigzne ABC” focuses on publishing textbooks, ”Neputns” concentrates on issuing literature on art.

Illustrators enjoy boundless freedom of expression- from traditional Realism to Abstraction. Many artists are involved in the production of a book. Alnis Mitris, Juris Petraškēvics, Valdis Villerušs a. o. have achieved success in annual competitions focusing on a book art. The speciality of a graphic artist can be acquired at the Latvian Academy of Arts.

Until the middle of the 19^th century publishers provided Latvian children with a few illustrated books. Among them were mainly catechisms and ABCs having standard size woodcuts and logotypes. Artistically the most significant was Gothard Friedrich Stender’s compiled ”Picture ABC”(1787) illustrated with etchings. Extensive children’s book repertoire was established at the second half of the 19^th century. Illustrations were mainly taken from German books. The most favoured were sentimental black and white lithographs and chrome lithographs. The works by artists of a local origin demonstrated ineptitude and primitivism.

At the outset of the 20^th century several leading Latvian artists turned to the children’s book graphics. Among them were Rihards Zariņš, Jānis Roberts Tillbergs, Eduards Brencēns a.o.

The established traditions of the former years collapsed and very soon disappeared completely. Traditional Realism possessing traits of Art Nouveau prevailed. The national children’s book graphics has been formed. Conditions were created for extended growth of the children’s book design with the establishment of the Latvian independent state when graphic interpretation of children's literature started to develop. Printing quality and design became versatile. Several artists such as Alberts Kronenbergs, Margarita Kovaļevska paid great attention to illustrating children’s literature. Niklāvs Strunke’s contribution to the children’s book design was significant.

In the period of Soviet regime until 1980 Socialist Realism dominated in the design of Latvian children’s books. Artistic handwriting had levelled out to a certain extent.

Since regaining the independence of Latvia the children’s book design has been undergoing dynamic changes, thus stimulating its development.