Morgan Library & Museum

Morgan Library & Museum

The museum's entrance in 2017
Former name	Pierpont Morgan Library
Established	1906 (1906) (private library) March 28, 1924 (1924-03-28) (public institution)
Location	225 Madison Avenue (at East 36th Street), Manhattan, New York, U.S.
Coordinates	40°44′57″N 73°58′53″W / 40.74917°N 73.98139°W / 40.74917; -73.98139
Type	Museum and research library
Collection size	350,00012
Visitors	274,000 (fiscal year 2019)3
Founder	J. P. Morgan
Director	Colin B. Bailey
Architect	Charles Follen McKim (main building) Benjamin Wistar Morris (main building annex) Isaac Newton Phelps (231 Madison Avenue) Renzo Piano and Beyer Blinder Belle (expansion)
Public transit access	Subway: ​​​​​ at Grand Central–42nd Street ​ at 33rd Street Bus: M1, M2, M3, M4, M34 SBS, M34A SBS, M42, Q324
Website	themorgan.org
J. Pierpont Morgan Library
U.S. National Register of Historic Places
U.S. National Historic Landmark
New York State Register of Historic Places
New York City Landmark
NRHP reference No.	660005445
NYSRHP No.	06101.000434
NYCL No.	0239, 1119, 2114
Significant dates
Added to NRHP	November 13, 1966 (main building)5
Designated NHL	November 13, 1966 (main building)10
Designated NYSRHP	June 23, 19806
Designated NYCL	May 17, 1966 (main building exterior)7 March 23, 1982 (main building interior)8 February 26, 2002 (231 Madison Avenue exterior)9

The Morgan Library & Museum (formerly the Pierpont Morgan Library; colloquially the Morgan) is a museum and research library in New York City, New York, United States. Completed in 1906 as the private library of the banker J. P. Morgan, the institution is housed at 225 Madison Avenue in the Murray Hill neighborhood of Manhattan. As of 2024, the museum is directed by Colin B. Bailey and governed by a board of trustees.

The site was formerly occupied by several Phelps family residences, one of which was sold to J. P. Morgan in 1880. After collecting thousands of objects in the late 19th century, Morgan erected the main building between 1902 and 1906, with Belle da Costa Greene serving as its first librarian for more than four decades. The library was made a public institution in 1924 by J. P. Morgan's son John Pierpont Morgan Jr., in accordance with his father's will, and further expansions were completed in 1928, 1962, and 1991. The Morgan Library was renamed the Morgan Library & Museum after the completion of a major expansion in 2006. Further renovations were completed in 2010 and 2022.

The Morgan Library & Museum is composed of several structures. The main building was designed by Charles McKim of the firm of McKim, Mead and White, with an annex designed by Benjamin Wistar Morris. A 19th-century Italianate brownstone house at 231 Madison Avenue, built by Isaac Newton Phelps, is also part of the grounds. The complex includes three additional structures, including a glass entrance building designed by Renzo Piano and Beyer Blinder Belle. The main building and its interior is a New York City designated landmark and a National Historic Landmark, while the house at 231 Madison Avenue is a designated city landmark.

The Morgan Library & Museum's collection has more than 350,000 objects, which include illuminated manuscripts, authors' original manuscripts, books, and sheets of music. The Morgan also houses collections of drawings, photographs, paintings, maps, and other objects. In addition to its permanent collection, the museum has hosted temporary exhibitions, as well as events such as concerts and lectures. Both the collection and the original building's architecture have received praise over the years, while the annexes' architecture has received mixed commentary.

In the second half of the 19th century, the Morgan Library & Museum's site was occupied by four brownstone houses on the east side of Madison Avenue, between 36th Street to the south and 37th Street to the north. The houses were all built in 1852 or 1853 by members of the Phelps Stokes/Dodge merchant family.¹¹¹² Three houses were built along Madison Avenue on lots measuring 65 feet (20 m) wide by 157 feet (48 m) deep, while a fourth house to the east measured 18 feet (5.5 m) wide and stretched 197.5 feet (60.2 m) between 37th and 36th Streets. All the houses were designed in an Italianate style with pink brownstone.¹² A driveway and stables were located behind the homes.¹³ The Madison Avenue houses, from north to south, were owned by Isaac Newton Phelps, William E. Dodge, and John Jay Phelps, while the 37th Street house was owned by George D. Phelps.¹¹¹² The houses were separated from each other by gardens.¹⁴ The surrounding neighborhood of Murray Hill was not yet developed at the time, but began to grow after the American Civil War.¹⁵

Isaac Newton Phelps's daughter Helen married Anson Phelps Stokes in 1865. Their son, the architect Isaac Newton Phelps Stokes, was born in the Isaac Newton Phelps house at 231 Madison Avenue two years later. Helen Phelps inherited the house following her father's death. In 1888, she doubled the size of her house and added an attic; the architect R. H. Robertson designed the expansion.¹²

The banker John Pierpont Morgan, who lived at 6 East 40th Street in the 1870s,¹⁶ was looking to buy his own house by 1880. He wished to live in Murray Hill, where many of his and his wife's friends and business contacts lived.¹⁷ Morgan sought to buy John Jay Phelps's house at 219 Madison Avenue, at the corner with 36th Street, which was offered for $225,000.¹⁷¹⁸ He acquired the house in 1880 and renovated it over the following two years, moving there in 1882.¹⁶¹⁷ The exterior design was largely retained, but the interior was extensively renovated by the Herter Brothers.¹⁷¹⁹

Morgan had collected handwriting samples as early as the 1850s,²⁰ and he also acquired pictures and stained glass pieces throughout the years.²¹²² In the late 19th century, Morgan became one of the most influential financiers in the United States.²³²⁴ As his wealth grew, Morgan amassed a collection of fine art, inspired by the collection of his father Junius Spencer Morgan, and he also began collecting rare books and other bindings at his nephew Junius's suggestion. The fine art was subject to import taxes and was stored in England; since books were not subject to import taxes, they were stored in the basement of his New York residence.²⁴²⁵ J. P. Morgan's collection included 160 titles by 1883.²⁰

The collection grew quickly after his father died in 1890.²⁶ Morgan began acquiring historically important manuscripts after his father obtained Walter Scott's original manuscript of the book Guy Mannering.²⁷ From 1899 to 1902 alone, he took over three collectors' libraries, which included hundreds of illuminated manuscripts, prints, and other manuscripts.²⁸ Morgan also acquired smaller collections, such as French literature, medieval chivalry, and American manuscript collections.²⁹ Morgan may have collected these objects exclusively for pleasure and not for investment purposes.³⁰ Morgan brought his art collection to the U.S. because an 1897 law allowed him to do it without paying import taxes, and also because he wanted to preserve the objects for the American people.³¹

By 1900, Morgan's collection took up more space than was available in his residence,¹⁶³² and his son-in-law described the basement as being packed with piles of objects.³³ Some of his collection had to be stored at the Lenox Library.³⁴ Morgan was unable to expand the house due to an 18-foot-wide (5.5 m) driveway east of it.³⁵³⁶ While part of Morgan's collection was stored in the basement of his house,³⁷ other items were loaned to institutions or placed in storage.³⁷³⁸

In 1900, the plots north and east of J. P. Morgan's house were placed for sale after the death of Melissa Stokes Dodge, who lived in the Dodge mansion just north of Morgan's house.³⁹ That January, he bought a 75-by-100-foot (23 by 30 m) plot of land on 36th Street,³⁵⁴⁰ for a library.¹⁶³⁶ The site had been occupied by two brownstone homes at 35 and 37 East 36th Street, which Morgan promptly razed.³⁵⁴¹ In 1902, Morgan acquired two more lots on 36th Street with a total frontage of 50 feet (15 m).³⁵ On the far eastern side of that plot, McKim, Mead & White designed a six-story house at 33 East 36th Street for Morgan's daughter Louisa and her husband Herbert Satterlee.⁴²⁴³⁴⁴ The Satterlees' house was made of limestone, as contrasted with the brownstones on Madison Avenue, and was connected to Morgan's own home by tunnels.⁴⁵ The Satterlee residence measured 28 feet (8.5 m) wide, and Morgan used the 135-foot-wide (41 m) plot between his house and the Satterlees' home for his new library.¹⁶

Morgan acquired William E. Dodge's home in April 1903.⁴⁶ While the Satterlee house was under construction, the couple moved into the Dodge mansion.³⁹ By late 1904, Morgan had also purchased the old Isaac Newton Stokes house at 229 Madison Avenue for his son J. P. Morgan Jr., who was known as "Jack".⁴⁷ Jack initially lived nearby at 22 Park Avenue.⁴⁸ When Jack and his wife Jane Norton Grew moved into 229 Madison Avenue in 1905, he commissioned a major renovation of the interior and renumbered it as 231 Madison Avenue. Jack Morgan also performed $1,900 in changes to the house's exterior.³⁹⁴⁹ J. P. Morgan came to own two-thirds of the city block;⁵⁰ his holdings by 1907 included the whole 197.5-foot (60.2 m) frontage on Madison Avenue, stretching 300 feet (91 m) on 36th Street and 167 feet (51 m) on 37th Street.³⁵

Morgan first hired Warren and Wetmore to design a Baroque-style library,²⁴⁵¹⁵² which would have had a heavily decorated upper section.⁵³ Whitney Warren of Warren and Wetmore had then just completed the elaborately decorated New York Yacht Club Building,⁴⁵⁵⁴ and Warren had wanted to design a domed structure.³³⁵⁴ Morgan's preference for an austere structure may have led him to reject Warren and Wetmore.⁴⁵ He instead hired Charles McKim of McKim, Mead & White to design the library in 1902.³⁹⁵⁵⁵² C. T. Wills was hired as the builder.⁵⁶ The library was to be a classical marble structure with a simple design; Morgan had told McKim that he wanted "a gem".⁴⁴ McKim's designs were traditional for their time, while those who wanted more fashionable designs typically hired McKim's partner Stanford White.³³⁵⁷

At the time of the library's planning, restrictive covenants in Murray Hill prohibited the construction of museums there, but the library was originally not planned as a museum.⁵⁸ While McKim was responsible for the overall design, Morgan had final say over the aspects of the plan.⁴⁴⁵⁸ An initial proposal called for a projecting central mass flanked by recessed wings, which Morgan deemed unwieldy. The second version of the plan reduced the size of the central mass and added a recessed entrance.⁴⁴ Morgan also rejected a proposal for a Greek temple–like structure topped by a portico.⁵⁸ The final designs called for the central section and wings to be the same distance from the street.⁴⁴ Morgan insisted the library be made of marble, even though his whole family except for his daughter Louisa lived in a brownstone house.⁴⁵ Morgan originally planned to use white marble, but he used pinkish-gray Tennessee marble instead after a neighbor told him that white marble would make the building look like a mausoleum.⁵⁸

By early 1903, workers were laying the foundation for the library.⁵⁹⁶⁰ Construction began that April,⁶¹ and the library was being dubbed as "Mr. Morgan's jewel case" by the next year.⁵⁶ Few details of the library were given out during construction, as Morgan prohibited the workers from talking to the press.⁶² The Wall Street Journal reported in June 1906 that Morgan had "wanted the most perfect structure that human hands could erect and was willing to pay whatever it cost".⁶³ For example, the usage of dry masonry marble blocks, an uncommon construction method that eliminated the need for joints made of mortar, added $50,000 to the cost of construction.⁵¹⁵²⁶⁴ McKim had suggested the dry masonry blocks to Morgan, who readily agreed to pay the extra cost.⁶⁵⁶⁶ To fit New York City's climate,²⁹ tinfoil sheeting was placed between the blocks.⁶¹⁶³ In addition, the stonework contractor nearly went out of business because the builders would not use any stones with cracks.⁶⁷

Morgan was impressed with the quality of the work⁶⁸⁶⁹ and often upheld the library as an accomplishment of McKim's.⁶⁰⁶⁸⁷⁰ This was because McKim was not only responsible for selecting the marble from Rome but also for hiring the library's decorators and craftsmen.⁶⁰ The final design was more representative of the work of William M. Kendall from McKim, Mead & White.⁷¹ Morgan acquired two hundred cases of books, which were temporarily stored in the Lenox Library and moved to Morgan's personal library starting in December 1905.⁷² Around the same time, Morgan hired Belle da Costa Greene as his personal librarian;⁷³⁷⁴ she remained in charge of the collection for the next four decades.⁷⁵ Toward the library's completion, Morgan reportedly requested that the entire library be shortened by one foot.⁶⁶

Morgan first used his office in November 1906 with a reception for the Metropolitan Museum of Art's purchasing committee. The decorative details were not completed until January 1907, and the collection was relocated into the library later that year.⁶¹ Morgan's library had cost $1.2 million (equivalent to $31.305 million in 2024^a).⁷⁶⁷⁷ During the Panic of 1907, the presidents of the city's banks and trust companies were locked in the library overnight until they agreed on a plan to stop the financial crisis.⁷⁸ To allow people to see his new library from Madison Avenue, Morgan demolished the Dodge house in 1907–1908¹⁴⁷⁹ and replaced it with a garden designed by Beatrix Farrand.⁸⁰

As the librarian, Greene was tasked with expanding the collection,⁷⁵⁸¹⁸² as well as cataloging and researching the history of each item.⁷⁵⁸³ She frequently searched for rare volumes in back alleys, but initially tended to avoid auctions and rarely spent more than $10,000 on a book without permission.⁸¹ Greene tended to acquire items created before the 16th century, since Morgan believed that other libraries were able to adequately care for newer items.⁸² Morgan also decided to import the rest of his collection and display it at his library. To avoid paying import taxes, he was required to open the library to the public on certain days of the week.⁸⁴ Morgan sometimes acquired art on short notice; in one case, he bought a Vermeer painting minutes after learning about the artist.²¹ He also refused to buy works that he believed were too expensive,²¹ and, although Morgan sometimes bought whole collections, in other instances he acquired a small number of pieces from a collection.⁸⁵

Morgan frequently met with foreign bankers in the library's study,⁸⁶ and he often opted to work in the library rather than in his downtown office.⁸⁷ Among Morgan's larger acquisitions in the late 1900s and early 1910s was a collection of rare American authors' manuscripts from merchant S. H. Wakeman in 1909.⁸⁸ The Wall Street Journal wrote in 1911 that "Mr. Morgan buys books as some financiers buy a thousand shares of stock";⁸⁹ in some years, he spent half his income on the collection.⁹⁰ Acquisitions continued until his death in March 1913.⁷³⁹¹ Morgan had bought thousands of objects since 1899, including 600 manuscripts and 3,000 medieval items.⁹²

Morgan's estate was valued at $128 million (about $2.98 billion in 2024^a), over half of which lay in the worth of his collection.⁹³ J. P. Morgan bequeathed all except one piece in the collection to the library,⁹⁴ with the request that Jack make the collection "permanently available for the instruction and pleasure of the American people".⁷³⁹⁵ The month after J. P. Morgan's death, the New York state legislature granted a two-year exemption enabling Jack to import his father's overseas collection without having to pay import duties.⁹⁶ Jack did not publicly show interest in his father's art collection and reportedly did not expand it in the year after his father died.⁹⁷ Jack sold off much of the overseas collection rather than importing it, but he decided to keep the items that were already in his father's library.⁹⁸ During 1914, the collection was displayed in full at the Metropolitan Museum of Art, the only time the whole collection was displayed.⁷³⁹⁹

The import duty exemption expired in April 1915,¹⁰⁰ and Jack sold various items in the collection to pay the inheritance taxes and to raise money for the cash bequests in his father's will.⁷³⁹⁰ The next year, the collection was valued at $7.5 million for taxation purposes.¹⁰¹ Jack and Jane Morgan continued to employ Greene as the librarian, adding items that personally interested them.^73102103 Frances Morgan, Jack's mother and John Pierpont's widow, lived at J. P. Morgan's old residence until her death in November 1924.⁷³ By then, despite Jack's opposition, the surrounding stretch of Madison Avenue was being redeveloped as a business street.¹⁰⁴¹⁰⁵ Although Jane Morgan died in 1925, Jack continued to live at 231 Madison Avenue until his death in 1943,¹⁰⁶ and the Satterlee home remained in the Morgan family until 1944.¹⁰⁷ The United Lutheran Church in America bought 231 Madison Avenue for its headquarters in 1943¹⁰⁸¹⁰⁹ and built a five-story annex there in 1957.⁷³¹¹⁰ It was the only remaining brownstone house along the Murray Hill section of Madison Avenue by the 1960s.¹¹¹

The Pierpont Morgan Library was incorporated as a public institution in March 1924,¹¹²¹¹³ a month after Jack Morgan announced that he would transfer the collection to a board of trustees and provide a $1.5 million endowment for the library.¹¹⁴¹¹⁵ The library's name reflected the fact that the elder J. P. Morgan had disliked being called by his first name and even his first initial.¹¹⁶ The Morgans transferred the library building, and the land under 219 Madison Avenue, to the Morgan Library.⁷³ Greene was retained as the librarian.¹¹⁵ The Morgan Library was not a public library and initially only allowed researchers into the space;¹¹⁷¹¹⁸ as Jack Morgan said, "one soiled thumb could undo the work of 900 years".¹¹⁸ Only ten scholars could initially enter the building at once.¹¹⁹ The library's collection continued to grow, with emphasis placed on rare items; for example, though only four items were acquired in 1926, all of these were unique manuscripts.⁹⁰

To accommodate additional scholars, the Morgan Library announced plans for an annex in January 1927.¹²⁰¹²¹ Though Jack initially denied that 219 Madison Avenue would be demolished,¹²¹ that house was ultimately razed.¹²²¹²³ Benjamin Wistar Morris was hired to design the annex, while Marc Eidlitz & Son was hired to build it.¹²¹¹²³ The annex was completed in 1928.^78124125 The Morgan Library continued to expand its collections;¹²⁶ for instance, between 1936 and 1940, it acquired twelve manuscripts and dozens of drawings.¹²⁷ In the 25 years after it became a public institution, the Morgan Library acquired 200 total manuscripts, 83 books, and hundreds of autographed letters and papers.¹²⁸

Through the early 1940s, the Morgan Library continued to limit access only to researchers,¹²⁹ prompting city officials to request that the library's tax-exempt status be removed because it was not a public library.¹³⁰ In December 1942, Morgan Library officials agreed to open the library to the general public, and city officials agreed not to fight the library's tax-exempt status.¹²⁹¹³¹ Many of the library's most valuable artifacts were transported to other locations in the U.S. in 1942 to protect them from possible World War II airstrikes; the objects were returned to the library in December 1944.¹³² The Fellows of the Pierpont Morgan Library was formed in 1949 to raise funds for the collections and distribute funds to scholars and publications.^94133134 After Belle da Costa Greene retired from the library in 1948,¹³⁵ Frederick Baldwin Adams Jr. was appointed as the Morgan's second director.¹³⁶

The Morgan Library started to host concerts and tours during the 1950s,¹⁰³ and it also acquired items such as a collection of 1,375 letters from a British dealer.¹³⁷ Officials began raising $3 million for an expansion of the library in 1959; the money was to fund modifications to the annex and a new lecture hall, as well as artifact purchases and new programs.¹³⁴¹³⁸ By that November, the library had raised $550,000.¹³⁴ In 1960, the main library and its annex were connected by a cloister structure.⁷⁸ During the renovation, the operating hours of the east room and west room were expanded from three to six days a week.¹³⁹ The renovation, designed by J. P. Morgan's nephew Alexander P. Morgan,⁷⁸ was completed in 1962 and included office space, a gallery, and meeting space.^140133141 In total, the renovation cost $1.4 million.¹⁴¹ By the early 1960s, the library was open six days a week (five days during the summer), and it charged no admission fee.¹⁴² Access to parts of the collection was limited to authorized researchers.⁹⁴¹⁴²

Adams retired as the Morgan's director in 1969 and was succeeded by Charles Ryskamp.¹⁴³ During Ryskamp's 17-year tenure, the $11 million endowment was expanded to $38 million.¹⁴⁴¹⁴⁵ By the early 1970s, the Morgan Library had several hundred fellows, or members,²¹ and Ryskamp wanted to attract more visitors to the library.¹⁴⁶ The Morgan Library constructed a five-story addition with storage vaults and offices in 1975.¹⁴⁷

The library continued to acquire other collections in the 1970s and 1980s, including the musical manuscript collection of Mary Flagler Cary;¹⁴⁸¹⁴⁹ 1,500 Italian drawings from János Scholz;¹⁵⁰ Dannie Heineman's collection of letters, books, and newspaper clippings;¹⁴⁹¹⁵¹ part of Robin Lehman's music manuscript collection;¹⁴⁹¹⁵² and 75 rare manuscripts from William S. Glazier.¹⁵³ Ryskamp also arranged various temporary exhibitions.¹⁴⁴ During the 1980s, the library raised $1.5 million each year for its operating budget, in addition to funding for repairs.¹⁴⁴ The institution received a $1 million grant for the preservation of its printed books (the largest donation it had ever received at the time)¹⁵⁴ and a $600,000 matching grant for its conservation department in 1981.¹⁵⁵ In the mid-1980s, the institution was officially renamed the Morgan Library.¹⁵⁶

Ryskamp resigned as director in 1986¹⁴⁴¹⁴⁵ and was replaced the next year by Charles Eliot Pierce Jr.¹⁵⁷ Pierce was the first director of the Morgan who was not associated with Princeton University. After he was appointed, Pierce sought to attract visitors; he would later recall that he was "disconcerted" by reports that previous visitors had been turned away from the library.¹¹⁶ In 1988, the Morgan Library bought 231 Madison Avenue from the Lutheran Church for $15 million.²²¹¹⁰ The library planned to spend $5 million restoring the house,¹¹⁰ and it also announced that it would raise $40 million for a capital campaign.²²¹⁵⁸ The original buildings could display only one percent of the total collection at once,²²¹⁵⁸ and the entire exhibition space consisted of two rooms and a corridor.¹⁵⁹

In 1989, the firm of Voorsanger and Mills designed a glass conservatory connecting 231 Madison Avenue and the main building's annex.¹⁵⁸¹⁶⁰ The conservatory would expand the library's space to 45,000 square feet (4,200 m²), add a walled terrace on Madison Avenue, and make the structures wheelchair-accessible. Because the original building was a city landmark, the New York City Landmarks Preservation Commission (LPC) had to approve the plans.¹⁵⁸ An early plan called for converting 231 Madison Avenue to exhibition galleries, but the house's internal structure made this impossible,¹⁶¹ so 231 Madison Avenue became offices and a bookstore.¹¹¹⁵⁹ The library's artworks were also extensively cleaned,¹⁶²¹⁶³ display cases were added to the original East Library, and the West Study was opened to the public.¹⁶⁴ The expansion was finished in October 1991,¹⁵⁹¹⁶⁵ initially with 275 pieces from the permanent collection, along with temporary exhibition space in the main building.¹⁶⁶ The project was originally planned to cost $9–10 million,¹⁶⁰ but it ultimately cost either $15 million¹⁵⁹ or $30 million.¹⁶⁶ The Morgan finished raising $40 million in November 1992.¹⁶⁷

Visitor numbers had increased by the mid-1990s,¹¹⁶ and the library had pay-what-you-wish admission fees.¹⁶⁸ At the time, the library still had a reputation for being a rich enclave, and many board members were part of rich families.¹¹⁶ The library's acquisitions in the 1990s included part of Alice Tully's art collection,¹⁶⁹ Carter Burden's collection of over 30,000 American literary volumes,¹⁷⁰ and Pierre Matisse's collection of 2,000 letters from artists.¹⁷¹ The Morgan opened a drawing center on the second floor of the annex, designed by Beyer Blinder Belle, in 1999.¹²⁶¹⁷² The same year, the Morgan received $10 million from Eugene V. Thaw and Clare E. Thaw;¹⁷³ these funds were used to establish the Thaw Conservation Center, completed in 2002.¹¹⁷⁴ By the beginning of the 21st century, the library's facilities had become dated. Pierce said later: "We had a lecture hall, not a concert hall; a reading room that owed more to 1928 instead of 2006."¹⁷⁵

The Morgan's board began planning another expansion in the late 1990s. The board hosted an architectural design competition and selected three finalists, all of whose plans involved demolishing the 1991 conservatory.¹⁷⁶¹⁷⁷ Ultimately, the board hired the Italian architect Renzo Piano (who had not participated in the original competition¹⁷⁷), along with Beyer Blinder Belle.¹⁷⁶¹⁷⁸ Although Piano had not previously designed a building in New York City,¹⁷⁹⁹² he had been selected because of his experience designing buildings in various styles and geographical contexts.¹⁷⁹¹⁸⁰ The plans called for new exhibit areas, a reading room, an auditorium, and more storage space.¹⁸¹¹⁸² The Morgan planned to raise $25 million for maintenance and $100 million for the renovation itself.¹⁷⁶¹⁷⁷ Despite the September 11 attacks, the Morgan decided to proceed with the expansion.¹⁷⁷¹⁸³ The library presented preliminary plans to the LPC in January 2002.¹⁸⁴ The LPC approved the proposal shortly afterward,¹⁸⁵ despite concerns about the design from Manhattan Community Board 6 and the architect Robert A. M. Stern.¹⁸⁶

In May 2003, the Morgan Library's buildings were closed for construction and expansion,¹⁸⁷¹⁸⁸ and the collection was placed into storage or moved to other institutions.¹⁸⁸¹⁷⁷ At the time, the museum recorded about 200,000 annual visitors¹⁸⁹ but wanted to accommodate twice that number.¹⁷⁶¹⁷⁷ The library sponsored numerous traveling exhibitions around the country.¹⁹⁰ All of the post-1928 annexes were demolished.⁵⁷¹⁹¹ Workers built most of the new spaces underground,³⁸ excavating nearly 50,000 short tons (45,000 long tons; 45,000 t) of bedrock.⁵⁷ The entrance was also relocated to Madison Avenue.¹⁸⁹¹⁹⁰ In conjunction with the renovation, Pierce planned to rebrand the institution as a museum.¹⁹² The Morgan also continued to acquire objects during the renovation, such as the collection of the lyricist Fred Ebb.¹⁹³ The project cost $106 million in total;^194195196b the renovation did not include the main building.¹⁹⁸¹⁹⁹

The library reopened on April 29, 2006,¹⁸⁹²⁰⁰ and was renamed the Morgan Library & Museum.¹⁹⁸¹⁹⁶ J. P. Morgan's private office and vault were also opened to the public.¹⁹⁰¹⁵⁶ Following the renovation, the number of annual visitors increased to 223,000, but this number had declined to 150,000 by 2010.¹⁹⁷ The museum also hosted concerts in its new auditorium,²⁰¹ and it hired Restaurant Associates to operate a cafe there.²⁰² Pierce retired as the museum's director in early 2007,¹⁹⁵²⁰³ saying that some museum members had opposed changes made during his tenure.¹⁹⁵ William M. Griswold was hired as the museum's next director that April,²⁰³²⁰⁴ overseeing the growth of its collections, exhibition programs, and curatorial departments.²⁰⁵ By the late 2000s, there was still not enough space for the museum's permanent collection.¹⁹⁸¹⁹⁹ The museum began planning to restore the main building c. 2008.²⁰⁶

In May 2010, Griswold announced that the main building would be renovated, and the museum started providing audio guides about its collections.¹⁹⁸ The renovation cost $4.5 million¹⁹⁷²⁰⁷ and included cleaning the marble facade, replacing electrical systems and lighting, and opening the North Room to the public.¹⁹⁷²⁰⁸ Beyer Blinder Belle designed the restoration,²⁰⁶²⁰⁸ which was completed in October 2010.²⁰⁹²¹⁰ Alongside the main building's renovation, Griswold wanted to digitize the collection.²¹¹ The Morgan established a photography department in 2012.²¹²²¹³ Griswold resigned as the Morgan's director in 2014,²⁰⁵ and Colin Bailey was appointed as the director of the Morgan Library & Museum the next year.²¹⁴

The Morgan Library & Museum announced in February 2019 that it would renovate the main building's facade.²¹⁵²¹⁶ Integrated Conservation Resources restored the main building,²¹⁷²¹⁸ completing the facade's restoration later that year.⁶⁷²¹⁶ The landscape designer Todd Longstaffe-Gowan designed a garden surrounding the original building,²¹⁷²¹⁹ since the neighborhood, at the time, lacked parkland.²²⁰ The LPC had initially opposed the garden, as the original building had never had a garden, but approved the project after learning that J. P. Morgan had wanted a garden around the library.²¹⁸ The museum was temporarily closed from March to September 2020 during the COVID-19 pandemic,²²¹ and the renovation was delayed as a result.²¹⁷ The garden opened to the public in June 2022;²¹⁸²¹⁹ the renovation had cost $13 million.²¹⁷²²²

The Morgan Library & Museum celebrated its 100th anniversary as a public institution in 2024.²²³²²⁴ To celebrate its centennial, the museum began raising $50 million in 2023,²²⁴²²⁵ including $35 million for its endowment and $15 million for capital improvements.²¹³ The heiress Katharine Rayner donated $10 million to endow the director's position, which was renamed in her honor in early 2024,²²⁶²²⁷ and the Jerome L. Greene Foundation donated another $5 million.²²⁴²²⁸

John Pierpont Morgan's original collection included porcelains, triptychs, books, and manuscripts.¹⁷ The collection of the Morgan Library & Museum contained more than 350,000 objects by the early 21st century.¹²¹⁷⁵ One late-20th-century reporter described the collection as including a variety of "almost random treasures".²¹ The library's online catalog, Corsair, contains records for many of the collection's objects.²²⁹

The Morgan Library & Museum has long contained a collection of illuminated manuscripts,²³⁰ which date from the sixth to sixteenth centuries.^118146231 As early as 1923, the Morgan Library counted 560 illuminated manuscripts in its collection,²³² a number that had grown to over 1,100 by the 21st century.²³¹ Among the manuscripts are the Morgan Bible, Morgan Beatus, Hours of Catherine of Cleves, Farnese Hours, Morgan Black Hours, and Codex Glazier,¹¹⁸²³³ as well as an Anglo-Saxon Gospels manuscript.²³⁴

The manuscript collection also contains authors' original manuscripts, many of them autographed.¹⁴⁶ The library's early acquisitions included a Charles Dickens manuscript of A Christmas Carol;^94103235 a J. M. Barrie manuscript;²³⁶ and original drawings for The Pickwick Papers and the Book of Job.²³⁷ The collection also includes manuscripts of poems by Robert Burns;¹¹² nine of Walter Scott's novels;¹¹² Alexander Pope's poem An Essay on Man;¹⁴⁶ John Keats's poem Endymion;⁹⁴ Francis Bacon's book Novum Organum,²³⁸ Edgar Allan Poe's short story "A Tale of the Ragged Mountains";¹⁷⁵ and Ernest Hemingway's short story "Three Stories and Ten Poems".²³⁹ There are also writings from Émile Zola, Victor Hugo, Marie Antoinette, George Sand, Alexandre Dumas, Thomas Moore,²³² Jane Austen, John Milton,¹⁹⁹ John Ruskin,²⁴⁰ and Honoré de Balzac.¹¹² Other documents in the Morgan's collection are a collection of 64 Central European manuscripts²⁴¹ and one of about two dozen original prints of the United States Declaration of Independence.²⁴²

There are many letters in the collection, some dating as far back as ancient Babylonian times.²⁴³ The Morgan holds original letters by Napoleon, Horace Walpole,²³⁷ Voltaire, Francesco Filelfo,²⁴⁴ John Cheever,¹⁷⁰ Thomas Pynchon,¹⁷⁰²⁴⁵ Vincent van Gogh,²⁴⁶ and George Beaumont.²⁴⁷ There is also a rare 1516 letter from Andrea Corsali with the first description of the Southern Cross.²⁴⁸

The collection includes notebooks and journals as well. These include the notebooks of Percy Bysshe Shelley,⁵⁰²³⁷ Nathaniel Hawthorne,²⁴⁹ Tennessee Williams,¹⁷⁰ and Henry David Thoreau.²⁵⁰ Diaries are also displayed, including those of Queen Victoria, pirate Bartholomew Sharp, writer E. B. White, and J. P. Morgan Sr. himself.²⁵¹

The Morgan Library & Museum also houses a sizable musical manuscript collection.¹⁴⁸¹⁰³ A 1998 magazine article about the collection described it as containing 1,250 music manuscripts; 1,900 pieces of music-related literature; and 7,000 letters written by musicians.¹⁴⁹ The music collection includes autographed and annotated libretti and scores from Ludwig van Beethoven, Johannes Brahms, Luigi Cherubini, Frédéric Chopin, Charles Gounod, George Frideric Handel, Joseph Haydn, Gustav Mahler, Gioachino Rossini, and Giuseppe Verdi.¹⁴⁸¹¹² It also contains letters by Wolfgang Amadeus Mozart, Felix Mendelssohn, and Richard Wagner, among other musicians.²⁵²

The only significant music manuscript that Morgan bought in his lifetime was Beethoven's Violin Sonata in G major, Opus 96, which he acquired in 1907.²⁵³ Notable specific pieces include two sets of Schubert's Impromptus manuscripts;¹⁵² Andrea Antico's Motetti e Canzone,²⁵²¹⁴⁸ and Mozart's Haffner Symphony.¹¹²²⁵⁴ The collection also contains the scraps of paper on which Bob Dylan jotted down "Blowin' in the Wind" and "It Ain't Me Babe".²⁵⁵ There are several pieces of Victorian-era musical artifacts, such as Gilbert and Sullivan manuscripts and related artifacts.²⁵⁶ In 2024, museum staff discovered an unpublished waltz by Chopin, dating from the 1830s, in the collection.²⁵⁷

The collection includes early printed Bibles and other religious works, among them three Gutenberg Bibles,^103146258 one of six original copies of the first Italian Bible,¹¹⁸²⁵⁹ one of three known copies of the Constance Missal,²⁶⁰ a rare copy of the Mainz Psalter,^94118261 and the Golden Gospels of Henry III.²³⁷ The Morgan also contains material from ancient Egypt and medieval liturgical objects (including Coptic literature examples);²⁶² William Blake's original drawings for his edition of the Book of Job; and concept drawings for Saint-Exupéry's The Little Prince.¹¹² The Morgan has a collection of ancient Near Eastern cylinder seals: small stone cylinders finely engraved with images for transfer to clay by rolling.²⁶³

The Morgan contains various examples of Latin and Greek literary classics, along with more modern American and European printed books.²² The collection includes numerous examples of fine bookbinding.²⁶⁴ These include various bindings of Coptic manuscripts from the 9th and 10th centuries,²⁶⁵ the metalwork covers of the Lindau Gospels,⁹⁴²⁶⁶ copies of books by early British printer William Caxton,¹²⁸ and a binding made for Christina, Queen of Sweden.²⁴⁷

There are also children's books. For example, the collection includes a book with the first known printing of the rhyme "This Is the House That Jack Built".²⁶⁷ In addition, the collection contains the first editions or proofread versions of Struwwelpeter, Alice's Adventures in Wonderland, and Max and Moritz.²⁶⁸

The Morgan contains a large collection of incunabula, prints, and drawings. The collection includes some Old Master paintings collected by Morgan,²⁶⁹ as well as objects like wedding portraits.⁹⁴ The Old Master paintings include works by Hans Memling,²⁷⁰²⁷¹ Perugino,²⁷² and Cima da Conegliano.²⁷¹ Some Old Master works have been sold off over the years, such as Domenico Ghirlandaio's masterpiece Portrait of Giovanna Tornabuoni.²⁷³ The collection also includes numerous drawings from 13th-to-19th-century French masters such as Antoine Watteau, François Boucher, Jacques-Louis David, and Jean Auguste Dominique Ingres.²⁷⁴ The Morgan also holds a set of miniature Rajput paintings.²⁶⁸ Other notable artists of the Morgan Library & Museum include Jean de Brunhoff,²⁷⁵ Paul Cézanne,²⁷⁶ Gaston Phoebus,²⁷⁷ and Rembrandt van Rijn.²⁷⁸

The Morgan's collection includes around 12,000 drawings and watercolors dating as far back as the 14th century, including 1,000 sheets from British artists and 3,000 sheets from Italian artists.²⁷⁹ Notable specific objects include twelve William Blake watercolors,²⁸⁰ the drawing Bathers by Renoir,²⁸¹ eight Rembrandt etchings, and 54 drawings by Eugène Delacroix.¹³⁰ The Morgan also has a photography department.²¹² The collection includes work from such photographers as Dennis Oppenheim and Henri Cartier-Bresson, and the photographs themselves are collected from various genres and time periods.²⁸²

Before J. P. Morgan died, he had acquired a variety of decorations such as a Persian carpet, Genoese and Chinese vases, and an Egyptian carved-stone group.²⁸³ The Washington Post reported in 1914 that the collections included "tapestries, bronzes and silver, Greek antiques, jeweled miniatures, porcelains, ancient jewelry, and wonderful books and manuscripts".⁹⁷ Among these were royal jewels, 70 pieces of old German silver, 64 miniatures, a set of 15th-century marble and bronze objects, Chinese porcelain, and watches.⁹⁷²⁸⁴ Morgan also kept various "knickknacks" such as a four-thousand-year-old Babylonian figure found near Pompeii.²³⁸ The institution once had a reliquary that supposedly included Mary Magdalene's tooth,⁸⁵ as well as Renaissance-era bronze medals, which have been sold off.²⁸⁵

The modern-day museum has a silver-gilt figure of Le Roi de Bourges,²⁸⁶ and the 12th-century Stavelot Triptych.⁹⁴²⁸⁷ Other notable objects include stage and costume designs from the collection of Donald Oenslager²⁶⁸ and a map of the Palestine region from around 1300.²⁴⁴ The museum's Gilder Lehrman Collection also contains various maps.²⁸⁸

Over the years, there have been several restitution claims regarding alleged stolen artwork in the Morgan's collection. The Morgan returned two items to Germany in 2001 after the Morgan's officials confirmed that they had been stolen.²⁸⁹ In 2019, an Italian prosecutor claimed that the museum hosted a sacramentary that was stolen in 1925 from the municipality of Apiro.²⁹⁰ In 2023, the Morgan and several other institutions surrendered seven pieces painted by Egon Schiele after the New York County District Attorney determined that the works had been looted from the collection of Fritz Grünbaum, who was murdered in the Holocaust.²⁹¹

Various events and programs are hosted at the Morgan, such as concerts, films, and lectures.²⁹² The museum has hosted concerts and tours since the 1950s,¹⁰³ and it began hosting regular concerts and recitals in Gilder Lehrman Hall in 2006.²⁰¹ In addition, guided tours of the permanent collection are hosted each afternoon except Monday.²⁹³ The Morgan also operates several classes for school groups, including the "Exploring with the Morgan" course for humanities and the arts.²⁹⁴ Parties are hosted at the Morgan annually, such as the Young Fellows Summer Cocktail Party²⁹⁵ and Mr. Morgan's Winter Gala.²⁹⁶

The Morgan hosts exhibits on a variety of topics throughout the year.²⁹⁷ In the mid-20th century, the Morgan's annual exhibits included showcases of recent acquisitions^c and rare books.²⁹⁹ Temporary exhibitions were staged in the annex buildings, while the main building was reserved for Morgan's main collection.³³ Until the Morgan Library's expansion was completed in 1991, the institution had so little space that parts of the permanent collection had to be hidden from view whenever there was a temporary exhibition.³⁰⁰ Although the 1991 expansion allowed for more temporary exhibitions,³⁰¹ the museum could host only one exhibition at once, and it often could not display its permanent collection.¹⁵⁶¹⁸² After the 2006 expansion, it could host multiple exhibitions at once.¹⁵⁶¹⁸²

The main building (also known as the McKim Building) was constructed between 1902 and 1906 as the original structure in the complex. It was designed in the Classical Revival style by Charles Follen McKim of McKim, Mead & White.^4376302 The original building occupies a lot of 117 by 50 feet (36 by 15 m)⁶²⁶³ and was intended to be built in a similar scale to contemporary New York Public Library branches.⁴³ The center of the original structure contains an extension measuring 73.5 feet (22.4 m) long, giving the structure a "T" shape;⁶² this small wing was intended to connect to a similar structure along 37th Street.³⁵ The original library building is placed behind a solid-bronze fence with hand-twisted bars.⁶²

The building has a facade of Tennessee marble,⁵⁸²¹⁷ behind which is an air gap and an interior brick wall.⁶² McKim took his inspiration from the Villa Giulia, particularly the attic of its Nymphaeum.⁴⁴⁵¹⁵² Further inspiration came from the 16th-century Villa Medici in Rome.^4352303 The exterior walls are made of dry masonry, which allowed the marble blocks to be set evenly, thus requiring a minimal amount of mortar.⁶³³⁰²⁷ Tinfoil sheeting was placed between the blocks to prevent moisture buildup;⁶¹⁶³ the tinfoil sheeting measures 1⁄64 inch (0.40 mm) thick and is laid between the horizontal joints.⁶¹ Charles T. Wills was responsible for the dry masonry construction.⁷⁸ The Wall Street Journal reported upon the library's completion, "No other building in Europe or America was ever erected with this care."⁶³

The main entrance is a Palladian arch at the center of the 36th Street facade. It is composed of an arched opening 14 feet (4.3 m) wide, flanked by two openings under flat lintels, each of which is 9 feet (2.7 m) wide.³⁰⁴ There are two recessed niches on that facade, one on each side of the entrance.⁵¹ Surrounding the library is a garden, which covers 5,000 square feet (460 m²) and contains artifacts from J. P. Morgan's collection.²¹⁷²¹⁸ The garden also contains pathways embedded with pebbles, which Sicilian craftsman Orazio Porto laid manually.²¹⁹

The central archway contains a portico with a groin vaulted ceiling,⁷ supported by two Ionic columns on each side.³⁰⁵ A flight of steps, leading to the main entrance, is flanked by two lionesses sculpted by Edward Clark Potter, who would later create the two lions that guard the New York Public Library Main Branch.^140306307 Above the entranceway are allegorical roundels and panels, which was originally given to Andrew O'Connor³⁰⁷³⁰⁸ and then reassigned to Adolph Weinman after O'Connor could not complete his contract.⁷⁶³⁰⁶ These panels depict tragic and lyric poetry.³⁰⁸ The portico has a geometric mosaic tile floor with marble.³⁰⁷ Inside the portico is a 16th-century pair of bronze doors,³⁰⁹ imported from Florence and made in the style of Lorenzo Ghiberti's doors at the Florence Baptistery.^1407310 Each door contains five carved bronze panels, which depict allegorical scenes.³¹⁰ By the 21st century, the doors were opened extremely infrequently.⁵⁰ There are six Doric style pilasters flanking the main entrance.¹⁴⁰⁷

The interior of the main library building is richly decorated, with a polychrome rotunda. It leads to three public rooms: Morgan's private study to the west, the librarian's office to the north, and the original library to the east.⁴³⁶⁰⁷⁷ Each of the three rooms had dozens of bookcase doors. As a fireproofing measure, almost nothing in the library was made of wood, except for the bookcases' frames and some doors. The bookcases had glass shelves and were covered with steel grilles.³⁰⁹ Morgan also had a steel vault where he kept his most valuable manuscripts,⁶⁰⁶²⁸⁹ such as about 600 Renaissance and medieval manuscripts.¹⁹⁵ There were asbestos shutters that could seal off the building's windows if necessary.⁶⁰⁶² The main building contains 14,700 square feet (1,370 m²) of space²⁰⁸ and has displayed over 300 objects since 2010.²⁰⁹²⁰⁸

The rotunda has a ceiling with murals and plasterwork inspired by Raphael, created by H. Siddons Mowbray.^140308309 On the north side of the ceiling is a half-dome with ten relief panels in a blue-and-white color scheme.³¹¹³¹² The lunette panels on the west, east, and south sides of the ceiling, measuring 23 feet (7.0 m) high,³¹¹ allude to material in Morgan's collection.³¹³ There is also a dome with roundels and decorative rectangular panels,³¹²³¹⁴ as well as an octagonal central skylight.³¹⁵ The rotunda floor is clad with multicolored marble, patterned after the floor of the Villa Pia in Vatican City,³⁰⁸³¹⁶ and features a porphyry centerpiece.³¹¹ The walls contain mosaic baseboards and are separated into panels with vertical pilasters, topped by Composite style pilasters.³¹⁶ When the library opened, the rotunda was furnished with two 15th-century chairs and a bronze bust by Benvenuto Cellini.⁹⁰³⁰⁹ Following a 2010 renovation, the rotunda has several display cases.²⁰⁷⁸⁵ The doorways to the rooms on the east and west are made of white marble, topped by marble entablatures and flanked by green marble columns.³¹⁶

Morgan's study is the West Room.³⁰⁹ The design of the study reflected Morgan's tastes; as his son-in-law Herbert Satterlee said, "No one could really know Mr. Morgan at all unless he had seen him in the West Room."⁹³³¹⁷ The West Room contains low wooden bookshelves as well as a fireplace with a marble mantelpiece.⁶⁸³¹⁸ The decorative elements include stained glass panels in the study's windows, as well as a wall covering of red damask.^6168319 The current damask covering replicates a pattern that was displayed at Rome's Chigi Palace.⁶⁸³¹⁷ The coffered ceiling was reportedly purchased in Italian cardinal's palace.⁶¹¹²⁵ The artist James Wall Finn painted coats-of-arms onto the ceiling based on Italian bookplates from Morgan's collection.⁶⁸¹²⁵ Finn's work was designed in such an authentic manner that it was frequently mistaken as part of the ceiling's original design.¹²⁵ By 2010, the room displayed some of the objects that Morgan collected.⁸⁵

To the north or rear of the rotunda is the original librarian's office.³⁰⁹⁸⁵ During the mid-20th century, the room was also used as a directors' office.⁸⁵ Since 2010, the office has been open to the public as a gallery known as the North Room.¹⁹⁷²⁰⁹ The space hosts ancient Roman, Greek, and Near Eastern objects, as well as items such as Egyptian figures and ancient seals.²¹⁰²¹¹ Bookcases are placed on a mezzanine, while the main level includes display cases.⁸⁵

The East Room (also the library room) is the largest room in the main building⁶¹ and has triple-tiered bookcases.^76140312 The bookcases were lined with asbestos and encased in glass;⁴⁸ the original Plexiglas was replaced with acrylic in 2010.³²⁰ Some of the bookcases can be moved, providing access to a stairway to the upper tiers and to a secret compartment.³²¹ On the east wall of the East Room is a fireplace with a tapestry showing the "Triumph of Avarice".^61312322 The fireplace itself dates from the 15th century³⁰⁹ and was imported from Italy.³²³ Mowbray designed eighteen lunettes and spandrels atop each wall, modeled after the work of Pinturicchio.³¹⁵³²³ The figures in the lunettes alternate between allegorical female muses and notable artists, explorers, or teachers.¹⁴⁰³¹² Zodiac symbols are placed on the spandrels, as the signs of the zodiac were particularly important to J. P. Morgan.^32315324 Two additional spandrels contain allegorical motifs that depict changing seasons.³²⁵³²⁴

The corner of Madison Avenue and 36th Street contains a two-story Italianate style structure designed by Benjamin Wistar Morris, with space for offices, exhibitions, and a research library.¹⁰⁵¹²³ The annex, made of the same Tennessee marble as the original, was completed in 1928.^78124125 It measures 90.67 by 60.5 feet (28 by 18 m),¹²³ with a later 26-by-30-foot (7.9 by 9.1 m) addition.¹⁴⁷ The Morris annex is accessed by a 22-foot-wide (6.7 m) stair facing 36th Street.¹⁶³ Compared with the main building, the Morris annex is simpler in design.^76105302

The Morris annex included a bookstore until 1991,¹⁶³ when it became a gallery space.¹⁵⁶¹⁶³ After 2006, the gallery space was split up, and the partitions there were removed.⁹²¹⁵⁶ At the center of the Morris annex is the Marble Hall, flanked by the Morgan Stanley Galleries West and East.³²⁶

Also part of the library grounds is 231 Madison Avenue, an Italianate brownstone house on the southeast corner of Madison Avenue and East 37th Street, which was the home of Isaac Newton Phelps and later J. P. "Jack" Morgan Jr.¹¹ The house contains the Morgan Shop on its northern side, facing 37th Street, and the Morgan Dining Room on its southern side.³²⁶ The house is set behind a barricade composed of a wrought-iron fence atop a brownstone ledge. The house was originally three stories tall and faced with pink stone, but after R. H. Robertson's renovation of 1888, became four stories tall with a raised basement. An office annex to the east, built in 1957, was originally faced with brick.³²⁷ Before the Morgan acquired it in 1988, it was a headquarters of the Lutheran Church.¹⁶⁰³²⁸

The New York Herald Tribune wrote in 1943 that the facade had "a slight suggestion of French Renaissance influence".¹⁰⁹ The Madison Avenue facade is divided vertically into three bays. An entrance stoop with a balustrade leads up to a central portico with two Corinthian columns flanked by rectangular sash windows. The second and third stories each have three rectangular windows, and a cornice runs above the third story. The attic contains small Ionic colonettes and pediments.³²⁷

Along 37th Street, the water table containing the raised basement is topped by a molding. The original 1853 house to the west and the 1888 extension to the east are divided by a pier. The original section of the house is three bays wide, with a balcony and pediment on the first floor, and oval windows and an oriel window on the second. Within the 1888 extension, the first floor contains a projecting three-sided bay and a windowless arch, and the other two stories contain various windows. The cornice above the third floor, as well as the attic, in both the original house and its extension are similar to on Madison Avenue.³²⁷

The southern facade of the house faces the rest of the library and is mostly obscured behind the 2006 addition. The westernmost portion of that facade, near Madison Avenue, contains rounded first- and second-story windows. There are also three-sided angled windows at the center of that facade.³²⁹

Inside the house were 45 rooms.^109160330 These spaces included a ballroom and 12 restrooms; in addition, the house had 22 fireplaces.³⁹ After the museum's 1991 expansion, the house contained offices, conference rooms, meeting areas, and a gift shop.¹⁶¹³⁰⁰ In addition, the ground-floor spaces were converted to lecture spaces.¹⁶³ Following a 2006 renovation, one of the house's first-floor rooms was converted to a dining room, while the shop was relocated to another space.³³¹ Inside the residence's attic is the 5,600-square-foot (520 m²) Thaw Conservation Center,³³² which is composed of spaces such as a library, reception area, and conservation rooms.¹

In 2006, three structures were completed to designs by Renzo Piano,⁵⁷³³³ who worked alongside preservation architect Beyer Blinder Belle.⁵⁷⁷⁶ There are four galleries in this section of the museum: the Clare Eddy Thaw Gallery, the Morgan Stanley Galleries West and East, and the Engelhard Gallery.³²⁶ The facades of the new above-ground buildings contain pinkish steel-and-glass curtain walls⁵⁷³³⁴ and are set back slightly from the museum's other structures.¹⁹⁶ The buildings expanded the Morgan Library's area by 75,000 square feet (7,000 m²),^38190334 much of which is below ground.⁵⁷

The primary structure in that grouping is a four-story, steel-and-glass entrance building on Madison Avenue.⁷⁶ The structure links McKim's library building, the annex, and the Phelps Stokes/Morgan house.¹⁹⁰³³⁵ The steel structural members are covered in rose-tinted paint as an allusion to the designs of main library and Phelps Stokes/Morgan house.³³⁵ Although externally inconspicuous, the building links the interior spaces of the complex.⁵⁷³⁰² Inside the structure, a glass elevator links the different levels.⁵⁷³³⁶

The entrance building contains the JPMorgan Chase Lobby,³²⁶ a space clad in cherry wood.⁹²³³⁶ Stairs lead up to the Morgan Shop and Morgan Dining Room, and there is an admission counter and coat room. The south wall has a corridor to the Morris annex and stairs to the second-floor Engelhard Gallery,³²⁶ the latter of which is a temporary-exhibition space.⁹² The Sherman Fairchild Reading Room, the museum's research library, is located on the top floor of the Madison Avenue pavilion³³⁷³³⁸ and has balconies and a skylight.⁵⁷ At the northeast corner of the entrance building³³⁸ is Gilder Lehrman Hall, an auditorium about 65 feet (20 m) below street level.¹⁹⁴³³⁴ Lehrman Hall has 280 seats.^339340d New storage rooms were also created by drilling into Manhattan's bedrock schist.³³⁴³³⁹ The underground rooms exten 55 feet (17 m) deep and contain much of the Morgan Library's collection.¹⁷⁵

Gilbert Court, a covered courtyard at the center of the complex,³⁴¹ surrounds the entrance building on the north, east, and south.³²⁶ The courtyard is topped by a 50-foot-tall (15 m) glass roof.⁵⁷¹⁹¹ On the south wall of the court is the Clare Eddy Thaw Gallery,³²⁶ a 20-by-20-by-20-foot (6.1 m × 6.1 m × 6.1 m) space inspired by Renaissance chambers that Piano observed in Italy.^175335334 At the court's southeast corner, stairs lead up to the original Morgan Library building, connecting to a vestibule between Morgan's study (the West Library) and the rotunda.³²⁶ There is also a structure next to 231 Madison Avenue, with ancillary areas and offices,³³³ in addition to a loading dock.¹⁹¹

The 2006 annexes replaced all of the additions built after 1928.⁵⁷¹⁹¹ These included a glass conservatory called the Garden Court, which was designed by Bartholomew Voorsanger of Voorsanger & Associates and completed in 1991. The Garden Court had a curved roof measuring 42 feet (13 m) tall.^166159161 Under the roof was a vaulted space with plants selected by landscape architect Dan Kiley.¹⁶¹³⁴² The roof was supported by a 55-foot-long (17 m) truss and was covered by clear laminated glass to allow the plants to grow.³⁴² The space also had metal-and-translucent-glass wall panels and a limestone wall on Madison Avenue.³⁴²³⁰⁰ There was a vestibule connecting with the Morris annex to the south.¹⁶³

The post-1928 annexes also included a cloister structure between the main building and the Morris annex, built in 1960.⁷⁸ A five-story, 26-by-30-foot (7.9 by 9.1 m) expansion was built in 1975 and designed by Platt, Wyckoff & Coles, with storage vaults and offices.¹⁴⁷

The Morgan Library & Museum is operated by a nonprofit organization of the same name, which is dedicated to conserving the artworks in the museum's collection.³⁴³ Colin Bailey has been the director of the Morgan Library & Museum since 2015.²¹⁴ Following a 2024 donation from Katharine Rayner, the director's position was renamed the Katharine J. Rayner Director until 2049.²²⁶²²⁷ The museum is administered by a board of trustees.³⁴⁴ As of 2026, Robert K. Steel and G. Scott Clemons are the co-presidents of the museum's board of trustees.³⁴⁵

Until 1981, the president of the museum was a Morgan family member.³⁴⁶ Previous museum presidents have included Jack Morgan's sons Junius Spencer Morgan III³⁴⁷ and Henry Sturgis Morgan.³⁴⁶ Other notable people in the museum's history have included Felice Stampfle, who was appointed the first Curator of Drawings and Prints at the Morgan Library in 1945.³⁴⁸ Some of the museum's past staff have donated objects to the collection, such as longtime librarian Curt F. Bühler, who donated illuminated manuscripts upon his death in 1985.²⁶⁸

As of 2024, the museum accommodates 250,000 in-person visitors annually, while its online programming serves seven million additional people each year.²¹³ Starting in January 2024, college students have been able to visit for free on the first Sunday of each month.²²⁵ The museum also allows visitors to reserve tickets for free admission on Friday evenings.³⁴⁹ According to the Condé Nast Traveler, most visitors are tourists, though local residents also visit the museum whenever there was an event or new exhibition.²⁹³

Jack Morgan established a $1.5 million endowment fund for the Pierpont Morgan Library when it was opened to researchers in 1924.¹¹⁴¹¹⁵ The endowment had grown to $53.5 million by the mid-1990s¹¹⁶ and $105 million by the early 2000s.¹⁷⁷ In 2023, the museum recorded revenue of $23.7 million, expenses of $31.4 million, total assets of $386 million, and liabilities of $19.5 million.³⁵⁰

A correspondent for the London Times, in 1908, characterized John Pierpont Morgan as "probably the greatest collector of things splendid and beautiful and rare who has ever lived".³⁵¹⁶⁰ In 1927, after the library became a research institution, one writer for the New York Herald Tribune called it "a temple of white marble, most fair and proportionate yet with an air of secret exclusiveness".⁹⁰ A writer for The Christian Science Monitor said in 1961 that the library housed "one of the most important private art collections in the world",²³⁰ and the Los Angeles Times wrote in 1966 that the Morgan Library was "a source of aesthetic refreshment and intellectual stimulation in any season".⁹⁴ Another writer in 1969 described the Morgan as shunning publicity and that the collection of illuminated manuscripts, book bindings, and drawings was "unsurpassed in the Western Hemisphere".³⁵²

A Newsweek article from 1970 described the library as having a "regal atmosphere",¹⁴⁶ and a 1974 article from the same magazine called the library a symbol of the "patronage and connoisseurship" of the early 20th century.³⁰ The Globe and Mail described the library in 1980 as a "treasure trove of early art".²⁸⁶ A writer for The New York Times Magazine said in 1994 that she felt the library was inviting, despite its formidable appearance.³⁵³

In 1998, a reporter for The Journal News described the library as "a hushed and shady refuge from the city's sweltering asphalt".³⁰¹ During the 2000s, a writer for the Chicago Tribune said that, although the Morgan was "a bibliophile's vision of paradise on Earth", it had a lower profile than other New York City museums because of its location.³⁸ A 21st-century review from the Condé Nast Traveler said: "The Morgan is like a multi-hyphenate millennial—only instead of actress/model/influencer/whatever leads to early retirement, it's museum/library/landmark/historic site/music venue."²⁹³ A Fodor's review described the museum as having an "exceptional" collection of artifacts.³⁵⁴

Several publications praised the library after its completion.³⁰⁷ In 1906, the Real Estate Record and Guide wrote of McKim, Mead & White: "the new Morgan Library, in Thirty-sixth street, is among their most carefully studied designs."³⁵⁵ The library building was described in another publication as "one of the Seven Wonders of the Edwardian World",¹⁴⁰³⁵⁶ while Architectural Review called it "icy and exquisite".⁵⁰ In a 1932 survey of 50 American architects, eleven ranked the Morgan Library as the United States' best building.³⁵⁷ A 1969 news article described the interiors' opulence as "almost indescribable",³⁵² and Newsweek called Morgan's study as emblematic of "his taste, his power and his vanity".³⁰ Morgan's private study was described by historian Wayne Andrews as "one of the greatest achievements of American interior decoration".⁶⁸³²² Paul Goldberger wrote in 1981 that the main building's facade represented "rigorous, not fanciful, classicism" and the interiors were "very rich and very cold".³³

The annexes received mixed reviews. Architectural historian Robert A. M. Stern said the 1928 addition "did not frame McKim's jewel box so much as sidle up to it like an unattractive sibling",¹⁰⁵ and Washington Post reporter Benjamin Forgey said it was "not nearly so exquisite" as the original structure.³⁰⁰ Conversely, Norval White and Elliot Willensky thought the 1928 annex "modestly defers to its master".³⁰² Goldberger described the Garden Court in 1991 as having "a sleek, almost brittle quality",¹⁶¹ and Forgey described the conservatory as helping create "a definable low-rise historical place in high-rise New York".³⁰⁰

When the Piano annex opened in 2006, Ada Louise Huxtable wrote that the museum was "cool in its understated excellence, its laid-back drama, the refinement of its details", as opposed to the old museum, which was "hot" because it was outwardly extravagant.⁵⁷ Although Newsday and the Wall Street Journal both described the new entrance atrium as inviting,⁹²¹⁵⁶ the Architectural Record criticized the atrium as not being distinctive.³³⁶ The Financial Times wrote that the 2006 annex's "luminous steel and glass spaces, was as radically different to the heavy stone and dense ornament of the library as was possible".²²² Zachary Woolfe of The New York Times wrote of Lehrman Hall in 2025: "The space is precipitously raked and feels stifling, with flinty acoustics."³⁵⁸

231 Madison Avenue was designated by the New York City Landmarks Preservation Commission (LPC) in 1965, being one of the first structures protected under New York City's landmarks law.⁷³ The Lutheran Church, then the owner of 231 Madison Avenue, had hoped to erect an office structure on the site of the Phelps Stokes/Morgan house³⁵⁹ and heavily opposed the house's designation. As a result, in 1974, the landmark status was removed from that house following a New York Court of Appeals ruling.⁷³³⁶⁰ After the Morgan acquired 231 Madison Avenue, that house was re-designated as a city landmark in 2002; the Morgan did not oppose the designation.¹⁸⁴

In 1952, the Municipal Art Society and the Society of Architects' New York chapter published a list of 20 buildings in the city that should "be preserved at all costs".³⁶¹ The main library building on 36th Street was the only 20th-century building on that list.¹³⁹³⁵² The LPC designated the exterior of the library's main building as a city landmark in 1966,⁷⁶³⁶² and that structure was declared a National Historic Landmark the same year.^10363364 In 1982, the main library building's interior was designated a city landmark.³⁶⁵ After the 1991 renovation made the main building wheelchair-accessible, the LPC gave the library an excellence award.³⁶⁶

The Morgan has also occasionally appeared in works of popular culture.³⁶⁷ E. L. Doctorow's 1975 novel Ragtime and its 1981 film adaptation depicted the library as a symbol of the wealthy.¹⁹⁹ In addition, part of the Netflix TV series Dash & Lily was filmed in the museum.³⁶⁷

See also

See also

• List of museums and cultural institutions in New York City
• List of National Historic Landmarks in New York City
• List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
• National Register of Historic Places listings in Manhattan from 14th to 59th Streets

References

References

Informational notes

1. Johnston, Louis; Williamson, Samuel H. (2023). "What Was the U.S. GDP Then?". MeasuringWorth. Retrieved November 30, 2023. United States Gross Domestic Product deflator figures follow the MeasuringWorth series.
2. One source gives a conflicting figure of $109 million.¹⁹⁷
3. See, for example:^244247298
4. Other sources give conflicting figures of 260³³⁴ or 299 seats.³³³

Citations

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2. Esplund, Lance (April 27, 2006). "The Museum As Mall". The New York Sun. Archived from the original on August 6, 2023. Retrieved August 3, 2023.
3. "Pierpont Morgan Library". GuideStar. Archived from the original on February 22, 2016. Retrieved January 3, 2021.
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8. Landmarks Preservation Commission 1982, p. 1.
9. Landmarks Preservation Commission 2002, p. 1.
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12. Landmarks Preservation Commission 2002, p. 2.
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15. Strouse 1999, p. 74; Landmarks Preservation Commission 2002, pp. 2–3.
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17. Landmarks Preservation Commission 2002, p. 3.
18. Strouse 1999, p. 195.
19. Strouse 1999, pp. 226–229.
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24. Roth 1983, p. 288.
25. Landmarks Preservation Commission 2002, pp. 3–4; Strouse 1999, pp. 11–21.
26. Landmarks Preservation Commission 1982, p. 2; Adams 1974, p. 7
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Bibliography

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Further reading

• The Morgan Library. New York: Pierpont Morgan Library. 2000. ISBN 978-0-87598-129-1.
• Tonkovich, Jennifer (2016). Inside the Morgan. Morgan Library & Museum. ISBN 978-0-87598-196-3.

External links

External links

• Official website
• Virtual tour of the Morgan Library & Museum provided by Google Arts & Culture