Blog

This is a guest post by Sharmishtha Roy Chowdhury, a writer and historian, specializing in modern world history and modern European history.

I came to the Morgan Library & Museum in search of Eleanor Franklin Egan, a forgotten writer of the First World War. While preparing my book manuscript for the First World War, Anticolonialism and British India, 1914–1924 (Routledge, forthcoming), I saw a reference to writings by Eleanor Franklin Egan (1879–1925).

This guest post is by Susie J. Pak, an Associate Professor in the Department of History at St. John’s University (New York).

When I began working on my dissertation at the Morgan Library & Museum in June 2001, researchers still entered from the 36th Street entrance, and the librarians sat in the center of the Reading Room at a raised oval desk. By the time the Piano renovation was completed, I had finished my dissertation, and I returned to the Morgan to the newly modernized Reading Room, where I spent many days for several years until my book, Gentlemen Bankers, went to press in 2012.

One of the questions my co-cataloguer on the Levy Project, Pam Abernathy, and I pose as we work our way through the collection of letters and manuscripts in the Morgan’s holdings is: how was it made? In most cases, it’s not complicated: the letter was written by hand, by the person who was responsible for its content. But in the case of MA 6390.3, a small scrap of paper that forms part of the Morgan’s large Lewis Carroll collection, matters were not so clear.

This guest post is by Sophia Natasha Sunseri, a Doctoral Candidate in the English department at the Graduate Center (CUNY).

The collections at the Morgan Library & Museum span a rich and diverse spectrum, from the ancient Mesopotamian period to the contemporary. As a Graduate Archival Fellow working in the Sherman Fairfield Reading Room, my attention was specifically drawn to the Morgan’s collection of eighteenth- and nineteenth-century “extra-illustrated” books: texts that were enhanced by the inclusion of letters, manuscripts, prints, drawings, and ephemera.

In this guest post, Anne Higonnet, Professor of Art History at Barnard College, Columbia University, discusses the Style Revolution project, including the digitization of an extremely rare set of the world’s most radical fashion plates.

The Morgan celebrated its annual Spring Family Fair on Sunday, April 15, 2018. Among the activities was a craft session with Azi Amiri, who led students in making paper dragons inspired by the Morgan’s collection of medieval manuscripts.

The Little Prince, a story of an intergalactic traveler in search of meaningful connection, was published in New York seventy-five years ago today—on April 6, 1943. This guest post is by Adrian Arturo Peña, a student in CUNY’s Language Immersion Program (CLIP), whose class recently visited the Morgan with instructor Gretchen Irwin-Harada to view and discuss Antoine de Saint-Exupéry’s draft manuscript and watercolor drawings for The Little Prince.

On March 12, 2018, Amanda Gorman, the twenty-year-old Youth Poet Laureate of the United States, visited the Morgan to place a manuscript of her poem “In This Place (An American Lyric)” in a vitrine in the Morgan’s majestic East Room alongside the work of Elizabeth Bishop, Carson McCullers, Johann Wolfgang von Goethe, and Peter Paul Rubens.

Ann Julia Hatton (1764-1838) lived a highly dramatic life, appropriate for a member of the Kemble family whose ranks were full of actors and actresses, the most famous among them being Sarah Siddons.

The Thaw Conservation Center at the Morgan is a world-class laboratory for the conservation of works on paper and parchment—drawings, prints, photographs, illuminated manuscripts, rare books, fine bindings, and literary, historical, and music manuscripts—as well as a place for conservation studies. A critical piece of the Morgan, the Thaw Conservation Center also relies on donations from the public to remain on the cutting edge of scientific research and discovery.