Bi-coastal art dealer Matthew Marks and his partner, the curator and former Artforum editor-in-chief Jack Bankowsky, are selling their sprawling 5,062 square foot townhouse at the corner of Greenwich and Horatio streets in the West Village for a price to rival the works by Marks’s star artists: $17.5 million. In 1997 the couple bought the then-derelict house for just $1.23 million.

Annual property tax on the complex, which consists of the four-story house (above left) and the adjacent duplex studio (above right) comes in at a whopping $37,527. For that, you get 15 rooms — including two full kitchens — a roof terrace with a landscaped Japanese-style rose garden, and “29 mahogany-cased windows,” if you’re into that sort of thing. The main house was built in the late 1830s by William Halsey. When he lived there, the painter Abraham Rattner (1893-1978) added the glass-walled studio, which Marks and Bankowsky converted into a two-level library and dining room (see below).

The house’s outdoor spaces (see below) amount to 865 square feet, which may or may not be more than the entire square footage of your (my) Brooklyn apartment.

The artist Brice Marden first pointed the property out to Marks, the New York Times reports, after spotting it while he was walking his dog. Another incident with a pet prompted the pair to renovate: When they moved in they didn’t fix up the graffiti-covered, parceled off property. Then in 2002 an Artforum intern who was cat-sitting for the couple left a bathtub running, causing the house’s top floor to flood, after which Marks and Bankowsky set about remaking the space.

“The old systems never quite bounced back after that, so it was clearly time to renovate,” Marks told the Times via email from the Venice Biennale. “We moved out for more than a year and gutted the place.” Now that top-floor bathroom (see below) looks pretty decent.

Why sell now? The dealer isn’t looking to make returns on an investment, he and his partner just want something new. “At home, we like to move the furniture around, repaint and change the art frequently,” he told the Times, “but after 16 years, we’ve tried all the combinations and it’s time to move on.”