![]() Morgan acquired it in 1900 as part of an en bloc purchase of more than three thousand books and manuscripts from the American manufacturer and financier Theodore Irwin. Though it was made in the tenth century, the manuscript has come to be known as the Golden Gospels of Henry VIII because the English monarch owned it some five centuries later. They used gold ink to copy the text of the Gospels onto parchment that had been dyed with a plant-based purple pigment, creating a luxurious object that was likely an imperial gift. This thousand-year-old manuscript was created by some sixteen scribes in a Benedictine abbey in Trier (in what is now Germany). He would soon acquire two more, both printed on paper: a copy of the Old Testament (purchased with the Theodore Irwin collection in 1900) and a complete copy in two volumes (purchased in 1911 from the London dealer Bernard Quaritch).Īlso on display is the Golden Gospels of Henry VIII. Morgan acquired his first copy of the Gutenberg Bible, printed on vellum, in 1896 from the London firm Henry Sotheran & Co. One book that Morgan simply had to have as he began to direct significant attention and resources to his library during the 1890s was a copy of Johann Gutenberg and Johann Fust’s Bible, a pivotal publication that represented the technological breakthrough of movable type in Western Europe. Pierpont Morgan’s Library: Building the Bookman’s Paradise features several works from Morgan’s growing collection of books and illuminated manuscripts that inspired the Library’s creation. ![]() Pierpont Morgan’s librarian in 1905 and managed the new building (and the treasures within) as construction was in the final stages. Morgan II (1867–1932), a banker and honorary associate librarian at Princeton University who advised his uncle in the early stages of the building project and Belle da Costa Greene (1879–1950), the cataloger from Princeton who became J. In addition, we meet Morgan’s bibliophile nephew, Junius S. We discover some of the many artisans who contributed to the building’s construction and ornamentation as the exhibition traces the design development of the pristine exterior and colorful interior of the Library. The works in this exhibition document the choices made as plans for the building were developed. For the next four years, hundreds of people worked to fulfill Morgan’s commission and realize McKim’s design, from the quarriers who extracted the stone in east Tennessee to the masons who set the marble blocks with exquisite precision. Pierpont Morgan (1837–1913) commissioned architect Charles Follen McKim (1847–1909), of the firm McKim, Mead & White, to design a freestanding library next to his home on East 36th Street in New York. In 1902, the American financier and collector J. It honors the architects, designers, tradespeople, artists, and builders who created the Library more than a century ago and celebrates the completion of the current campaign of exterior restoration and enhancement of this landmark building, which anchors the campus of the Morgan Library & Museum. ![]() This exhibition traces the design, construction, and early life of one of the finest examples of Neoclassical architecture in the United States through works such as rarely seen architectural drawings, period photographs, and a selection of the most significant rare books and manuscripts from Morgan’s collection. Pierpont Morgan’s Library: Building the Bookman’s Paradise, on view June 10 through September 18, 2022. New York – The Morgan Library & Museum presents J. ![]()
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