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The spectacular Crusader Bible is one of the greatest illuminated manuscripts in the world, renowned as much for its unrivalled and boldly colored illustrations as it is for its fascinating history.

Treasures of Islamic Manuscript Painting from the Morgan marks the first time the Morgan has gathered these spectacular volumes together in a single exhibition.

The career of English caricaturist James Gillray (1756–1815) spanned from the late eighteenth century to the first decade of the nineteenth century.

The Morgan presents this exhibition on the occasion of an important loan from the Walters Art Museum in Baltimore: Rosso Fiorentino's Holy Family with the Young Saint John the Baptist.

Objects on view in J. Pierpont Morgan’s library reflect the past, present, and future of building collections in four curatorial departments.

Nearly twenty years ago, the Morgan decided to expand its collection of drawings and prints into the modern era.

One of the most popular and enigmatic American writers of the nineteenth century, Emily Dickinson (1830–1886) wrote almost 1,800 poems.

Presenting over one hundred works that underscore the great scope of the Morgan's collecting interests, the exhibition included old master and modern drawings, literary and musical manuscripts, illuminated texts, and rare printed books and bindings.

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.

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.