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In this exhibition, the Book of Revelation, in all of its complexity, was seen through the eyes of some of the greatest medieval illuminators.

The Morgan holds the original manuscript and art for one of the world’s most widely read and cherished books, Antoine de Saint-Exupéry’s The Little Prince (1943).

In the century since its founding as a public institution, the Morgan’s collections have grown dramatically, deepening the core assembled by J. Pierpont Morgan and his librarian, Belle da Costa Greene, who became the first Director of the institution.

This fall, the Morgan will devote two galleries to an extraordinary exhibition of rarely-seen master drawings from the Staatliche Graphische Sammlung, Munich, one of the foremost collections in Europe.

From Rembrandt to van Gogh: Dutch Drawings from the Morgan presented highlights from the Morgan's outstanding collection of Dutch drawings from the seventeenth through nineteenth centuries.

Explore the highlights of the Morgan’s campus and collection. Discover stories about secret stairways and hidden bookshelves. The tour is approximately 40 minutes long and takes you through the entire campus, including a visit to the exterior of the 1906 library building, visible from 36th Street. Listen

Objects on view in J. Pierpont Morgan’s library reflect the past, present, and future of building collections in four curatorial departments, comprising illuminated manuscripts from the medieval and renaissance eras, five hundred years of printed books, correspondence and literary manuscripts, as well as printed music and autograph manuscripts by composers.

Seeds of Knowledge highlights the collection of 15th to 17th-century European printed herbals of Dr. Peter Goop (Liechtenstein). Herbals were highly illustrated, critical texts to doctors and lay healthcare providers that included both the folkloric and medicinal uses of plants.

The drawings assembled by Clement C. (Chips) Moore constitute one of the preeminent collections of Dutch drawings in private hands.

To eighteenth- and nineteenth-century European artists, the ephemeral qualities of weather and light were as integral to their landscape paintings as the terrain itself.