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The Thaw Collection is an exhibition of works that have been acquired by Eugene V. and Clare E. Thaw since 1994. In the decades since the early 1950s, when they obtained their first drawing, a figure study by Giambattista Tiepolo, they have assembled one of the finest collections of drawings and watercolors in private hands. On the occasion of the first exhibition of their drawings at The Morgan Library & Museum in 1975, the Thaws announced their intention to eventually present the collection to the institution.

Drawing upon the Morgan's collection of Poyer manuscripts, the exhibition also included choice loans of drawings and manuscripts from this country and abroad.

This small installation, on view in the Rotunda of J. Pierpont Morgan’s Library and drawn entirely from the Morgan’s own holdings, marks the two-hundredth anniversary of Brontë’s birth and celebrates her bold, enduring literary voice.

As part of a commitment to build a representative collection of works on paper by twentieth-century artists, the Morgan acquired two major works by the American painter and draftsman Stuart Davis (1892–1964): his earliest known diary, used by the artist between 1920 and 1922, and a sketchbook dated 1926. To celebrate these acquisitions, the Morgan presented Stuart Davis: Art and Theory, 1920–31.

In a letter written near the end of his life, Giovanni Battista Piranesi (1720–1778) explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.”

Highlights from this season's selection include a mid-fifteenth-century English cooking scroll; autograph music manuscripts by Wagner, Verdi, and Britten; the first book printed in the English language; letters from Jane Austen and Albert Einstein; and photographer Edward Steichen's famous portrait of Pierpont Morgan.

This is the first ever major museum exhibition devoted to the work of Ernest Hemingway (1899–1961), one of the most celebrated American authors of the 20th century.

Nearly fifteen years ago, while the construction of its Renzo Piano-designed expansion was under way, the Morgan embarked on a new program of acquisitions of modern and contemporary drawings.

Pierre-Jean Mariette (1694–1774) was one of the earliest and most important collectors of old master drawings and he played a pivotal role in shaping our modern conception of the old masters.

This exhibition will recognize the sheer scale of Sargent’s achievement as a portrait draftsman.