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The oil sketches displayed here engage with a range of Sublime effects, from the impressive vastness of a mountain range and the thrill of rushing water to the terror of a raging storm.

One of the earliest original manuscripts of Magna Carta dating to 1217 is on view at the Morgan through May 30.

British artist Bridget Riley (b. 1931) is one of the most celebrated abstract painters of her generation. This exhibition—the first dedicated exclusively to her drawings in over fifty years—provides an intimate view of Riley's studio practice, in which the making of works on paper plays a central role.

The Morgan celebrates the 1913 publication of Swann's Way with a fascinating selection of the author's notebooks, preliminary drafts, galley-proofs, and other documents from the collection of the Bibliothèque Nationale de France.

Through the generosity of private donors, the Morgan acquired an exceptionally fine impression of the engraving Adam and Eve by the German master Albrecht Dürer (1471–1528).

One of the Morgan's core strengths is its collection of historically and artistically significant bookbindings.

The Book of Kings: Art, War, and the Morgan Library's Medieval Picture Bible used medieval works from the Morgan and The Walters Art Museum, Baltimore, to explore ways in which Christian, Muslim, and Jewish cultures used storytelling to define themselves and their values. The Picture Bible—one of the greatest illuminated manuscripts produced in thirteenth-century France—was disbound for conservation and study, offering visitors a once-in-a-lifetime opportunity to view twenty-six of the book's pages in a single exhibition.

The Morgan Library & Museum presents an exhibition of photographs by Massimo Listri documenting iconic European libraries that similarly use fine wood, marble, and other precious materials to create an opulent setting for books.

Some sixty of Lequeu’s several hundred drawings will be on view in Jean‐Jacques Lequeu: Visionary Architect, the first museum retrospective to bring significant public and scholarly attention to one of the most imaginative architects of the Enlightenment.

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.”