Millionaire’s Row, 1904

Provenance

The artist
Estate of the above
Mr. and Mrs. Robert C. Graham, Sr., Connecticut
James Graham & Sons, New York
Private collection, New York, acquired from the above
Questroyal Fine Arts, LLC, New York, acquired from the above
Bernard Goldberg Fine Arts, LLC, New York, acquired from the above
Private collection, acquired from the above, 2012
Sale, Christie’s, New York, The Max N. Berry Collections, January 23, 2026, lot 371

Exhibited

New Jersey State Museum, Trenton, New Jersey, Everett Shinn (1873-1953), September 15-November 25, 1973, no. 22.

James Graham & Sons, New York, Everett Shinn, December 16, 1981-February 7, 1982.

(Probably) James Graham & Sons, New York, Turn of the Century Paintings & Decorative Objects, February-April 1985.

(Probably) James Graham & Sons, New York, Works on Paper, January 1988.

Owen Gallery, New York, Everett Shinn: Important Paintings & Pastels, October 22-December 14, 1996, n.p., illustrated (as Towards the El).

Literature

New Jersey State Museum, Everett Shinn (1873–1953) (New Jersey State Museum, 1973), 34, no. 22, illustrated.

Edith Deshazo, Everett Shinn (1876-1953): A Figure in His Time (Clarkson N. Potter, Inc., 1974), 209.

S. Fort, “Everett Shinn,” Arts 55, no. 7 (March 1981): 26, illustrated.

Owen Gallery, Everett Shinn: Important Paintings & Pastels (Owen Gallery, 1996), np.

Avis Berman, New York: As They Saw It (Bernard Goldberg Fine Arts, 2005), 2-3, illustrated.

Related Work

Out of a Job – News of the Unemployed, 1908, wash, crayon and pencil on board, 13 ½ x 27 ¾ inches, signed and dated lower right: E. SHINN /1908; Crystal Bridges Museum of American Art, Bentonville, Arkansas

Cross Streets of New York, 1899, pastel, watercolor, charcoal, and gouache on paperboard, 22 x

29 ½ inches, signed lower right: EVERETT SHINN/99; National Gallery of Art, Washington D.C.

Note

Millionaire’s Row, a pastel created in 1904 by Everett Shinn, conveys a sense of urban peace amongst the prim townhouses lined up on West 53^rd street, between Fifth and Sixth Avenues. Using foreshortening, Shinn enlarges a side street to the scale of an avenue, creating an illusion of spatial expansiveness that was rare amid the hustle and bustle of early twentieth-century New York City.[1] In the beginning of his career, Shinn worked as a reporter while studying at the Pennsylvania Academy of the Fine Arts (1893–97), where he met fellow illustrators William Glackens, George Luks, and John Sloan. Inspired by Robert Henri’s belief that any subject could be painted, the artists later moved to New York to depict urban life. Their gritty realist works challenged academic conventions and helped define the Ashcan School.

[1]