Robert Mnuchin’s Upper East Side Townhouse Lists for $35 Million After Gallery Era Ends
A townhouse that once functioned as both a family home and one of New York’s more closely watched private gallery spaces has come to market for $35 million. The five-story, 17,600-square-foot property on the Upper East Side was bought by Robert Mnuchin and his wife, Adriana, in 1983, when the financier was still building the career that would eventually span 33 years at Goldman Sachs.
Mnuchin left the firm in 1990, after rising from trader to general partner and then manager. Two years later, he opened his gallery with James Corcoran as partner, turning the house into a place where art and domestic life overlapped for more than three decades. The gallery presented exhibitions by Willem De Kooning, Jeff Koons, Ed Clark, and Mary Lovelace O’Neal, among others, before news emerged four months ago that the space would not remain open.
The listing, handled by Modlin Group, says the townhouse can once again serve as either a private residence or a commercial art gallery. That flexibility is part of its appeal, but so is the building’s layered history. Over the years, the 106-year-old property has been used as a mansion, a dormitory, and a psychiatrist’s office before Mnuchin made it his own.
The house now offers seven levels, nine bedrooms, 18 rooms, a cellar, a garden level, a kitchenette, a powder room, a balcony, and a fully equipped guest suite that opens onto a 1,335-square-foot rooftop terrace. Mnuchin landscaped the terrace himself, planting Japanese red maples, basil, and other greenery. A private elevator connects the floors, sparing visitors the central spiral staircase.
Former gallery walls have been removed from the first two floors, exposing fireplaces that had long been concealed. Valerie, Mnuchin’s daughter, told the Wall Street Journal that her mother grew tired of living “over the shop,” a reminder that the townhouse was never only a showroom. Family dinners, basement gatherings, and the rhythms of daily life unfolded alongside the gallery’s more public role.
With its art-world pedigree, residential scale, and unusually adaptable layout, the property now stands at a familiar New York crossroads: preservation, reinvention, and the question of what a storied address should become next.
