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Six to Celebrate: Hunts Point

Before European colonization, the Hunts Point area of the Bronx was associated with the Siwanoy Native Americans, which were part of the broader Algonquian cultural and linguistic group. It was then known as Quinnahung, meaning “a long high place”, later taking its current name from 17th-century landowner Thomas Hunt Jr.

During the late-17th to early-19th centuries the area was known as West Farms, and was composed of rural estates owned by a few English families who relied on an enslaved labor force to cultivate the land. Vestiges of these early inhabitants can still be found in the Joseph Rodman Drake Park, with recent studies pointing towards the existence of an enslaved African people burial ground.

The arrival of the New York and Harlem railroad line, which crossed the Harlem River, brought a rise in population to The Bronx during the mid-19th century. Hunts Point, however, remained picturesque and undeveloped, attracting prominent, wealthy businessmen who purchased farmland and established grand country manors. Though most of the houses from this period have been demolished, the Peter S. Hoe House, known as Sunnyslope, is an unusual survivor of the neighborhood’s rural past. The construction of the Corpus Christi Monastery at the end of the 19th century was also motivated by this bucolic environment.

After the area’s annexation to New York City in 1874, a series of infrastructure improvements were implemented to increase transportation communication with Manhattan. The opening of IRT stations at Simpson Street, Prospect Avenue and Intervale Avenue, provided more immediate access to Hunts Point, boosting the neighborhood’s development. City services were also expanded, with new buildings for the NYPD and the FDNY, as well as the Joseph R. Drake Public School.

Industrial development was also fueled by the continuous improvements of transit to and from the area during the 20th century. Large companies like the American Bank Note established their operations in the area, also boosting residential development. One of the earliest examples of private homes for middle-class families are located in Manida Street.

Urban growth continued throughout the first half of the 20th century, with population increases marked by immigration waves. This had a strong effect on the neighborhood’s character, most notably during the 1950s and 60s, when it became a hub for Latin American culture. Some of the most influential venues in Latin music were established in former theatres located alongside Southern Boulevard, attracting crowds from all boroughs.

Community organizing has also been a constant element in Hunts Point, especially after the social and economic crisis of the 1970s and 80s. Organizations like Urban Health and The Point have had a strong impact in the neighborhood’s development, and continue to work towards its protection and improvement.

ByHistoric Districts Council logoHistoric Districts Council
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14 stops•3.3km•39 min
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“I Love the Bronx” mural
“I Love the Bronx” mural icon

“I Love the Bronx” mural

1026 Westchester Ave The now iconic “I Love the Bronx” mural is one of the long-standing works of Tats Cru, a group of NYC-based professional muralists formed in the early 1980s, whose work has played a pivotal role in transforming and advancing graffiti art. Founding members Wilfredo “BIO” Feliciano, BRIM and MACK, Hector “NICER” Nazario and Sotero “BG183” Ortiz met as teenagers at James Monroe High School in the Bronx, and started painting subway cars together under the name T.A.T. CRU, changing it to TATS CRU in the early ’90s. As they started to gain recognition, local businesses began hiring them to paint blank walls to prevent tagging or other unattractive vandalism. In 1994, they received their first big corporate commission by Coca-Cola, and soon after a campaign for Chivas Regal. Today, they work with musicians, nonprofits and corporations alike, creating prismatic and highly stylized murals. One of their most well-known murals is the Big Pun Wall (910 Rogers Pl), a memorial created for the artist after The Cru learned about his death while they were working on the promotion of his first album. They have maintained a strong connection to the world of Hip Hop through their friendship with Fat Joe, and periodically revisit and revise the mural.
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41st Precinct Police Station
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41st Precinct Police Station

62ND POLICE PRECINCT STATION HOUSE 1086 Simpson St (1912-14, Hazzard, Erskine & Blagden) NYC Individual Landmark Part of an ambitious building program for the Bronx, the design for this station reflected the vision of the City Beautiful movement. Although it was intended as a model for others by the city government, contemporary political reverses made it the only example of the architectural firm’s work. It was submitted to the NYC Art Commission (itself founded in response to City Beautiful ideals) and received subsequent academic refinement in the architecture committee, headed by Isaac Newton Phelps Stokes. The three-story neo-Renaissance style structure has a monumental ground-story arcade of bold, bull-nosed rustication, contrasting with smooth-faced ashlar limestone upper stories. The Simpson St. façade is surmounted by a richly ornamented terra cotta cornice and broad-eaved hipped roof (originally of green tile) evoking the 15th and early 16th century palaces of Florence and Rome. In the 1970s, it became a symbol of the deterioration of the Bronx. The 1981 crime drama film “Fort Apache, The Bronx” is said to have been based on it. It was designated as a NYC Landmark in 1992.
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Former Urban Health Building
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Former Urban Health Building

Former Urban Health Building ca. 1900 In 1967, Dr. Richard Izquierdo, a life-long resident of the South Bronx and a pediatrician/family practitioner, purchased this then abandoned building on Southern Boulevard and Westchester Avenue to create the San Juan Health Center. At the time there was a lack of primary care services in the area, and residents had grown accustomed to waiting out long lines in local hospital emergency rooms for routine medical care or for the treatment of acute medical conditions. Since Dr. Izquierdo was unable to meet the demand in his private practice, he wanted to expand it into an HMO-style practice that offered care in a consistent, cost effective and managed manner. Seven years later, San Juan Health Center became Urban Health Plan, Inc., a federally qualified community health center licensed by New York State. Today Urban Health Plan is one of the largest health centers in New York State.
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Former Art Theater
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Former Art Theater

Former Art Theater 1077 Southern Boulevard (1914, Paul B. LaVelle) Located down the street from the Cecil Spooner and Boulevard Theatres, the Art Theater was the work of Swiss-born architect Paul B. LaVelle, who trained at the École des Beaux-Arts in Paris. He would later employ and mentor Hilyard Robinson, the first African American to earn an architecture degree at Columbia University, who went on to become a leading architect in Washington, DC. The Art was a hybrid building, combining a 600-seat theater with stores and an open-air theater with room for about 800 patrons. Its most distinctive architectural feature is its decorative busts on the façade. It later became Teatro Art, a Spanish-language cinema, which in turn was eventually replaced by a Protestant church. Although some of the storefront space is actively used, the church left several years ago and the distinctive ornament is in a state of disrepair.
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Former Boulevard Theater
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Former Boulevard Theater

Former Boulevard Theater 1030 Southern Boulevard (1913, Thomas W. Lamb) This Beaux-Arts building was originally the Boulevard Theater, a vaudeville house that seated 2,200 people. It was designed by Scottish-born, American architect Thomas Lamb, who achieved recognition as one of the leading architects of the boom in movie theater construction of the 1910s and 1920s. He developed designs for Fox Theatres, Loew’s Theatres and Keith-Albee, creating large, lavishly decorated structures known as “movie palaces”, which showcased the films of the emerging Hollywood studios. The Boulevard was one of several Bronx theatres that Marcus Loew purchased from the Picker family. He renovated the interior in 1917, installing an organ to provide musical accompaniment for motion pictures, and again in 1932 to accommodate talking pictures. It continued having vaudeville shows into the 1950s, closing in the 1960s. In the following years it reopened under independent management, hosting live shows and Spanish-language movies in the late-1970’s. It finally closed in the mid-1980’s, and converted to commercial space. The interior has been altered to accommodate new uses, but the façade still retains many of its decorative details.
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Former Spooner Theater and Tritons Club
Former Spooner Theater and Tritons Club icon

Former Spooner Theater and Tritons Club

FORMER TRITONS CLUB 961 Southern Blvd (1910) Originally The Spooner Theater, this 1800-seat structure was built by actress and director Cecil Spooner to serve as her company’s performing space. It was later purchased by Loews and renamed the Loews Spooner Theatre. In the late 1950s, a group of friends from a local stickball team established the Tritons Club at this location, which became known as the “greatest after-hours club in the Bronx”. By the early 1960s, many of the biggest bands in Latin music were playing there regularly, with people praising the intimate atmosphere, which allowed for close contact with the musicians. Al Santiago, the owner of the Casalegre record store and Alegre records, managed to get many well-known bandleaders to play together at the Club every Tuesday, eventually becoming the Alegre All-Stars. It is also believed that this venue was key during the craze for the Pachanga style of dance. The Tritons’ success prompted its eventual move to a bigger location on Longwood Avenue, but it closed soon after. The Spooner Theater was then converted into a movie house that remained open until the 1970s. Today, it is used as commercial space.
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Hunts Point Palace
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Hunts Point Palace

HUNTS POINT PALACE 1029 E 163rd St (1911) Built by the Morgenthau family, this dance hall hosted functions for the area’s changing ethnic communities for over six decades. Early clientele included the Jewish, Italian and Irish communities, and by the 1950s it became a hub for the Latin community. The Palace was a key performance spot for some of the biggest bands of the mambo era, mostly because it was one of the largest venues in the Bronx, holding 2,500 people and boasting a big bandstand. With ornate architecture and beautiful balconies, it had large and well-maintained dance floors, rivaling Manhattan’s Palladium. Stars like Tito Puente, Tito Rodríguez, and Machito often played here, as did Arsenio Rodríguez and jazz greats like Stan Getz and Dizzy Gillespie. Willie Colón and Rubén Blades also played at this venue, at a time when they started calling their music salsa. The term would gain currency when Fania Records used it to market these urban-edged sounds. After the ballroom closed in the 1980s, the building was converted to commercial and office space. Across the street, at 932 Southern Blvd, a small bar opened in the 1950s catering to the musicians who played at The Palace. The Alhambra Supper Club provided them with opportunities to improvise and experiment with each other, even leading to the creation of new styles. The original building was demolished in 2015.
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Monsignor Raul del Valle Square
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Monsignor Raul del Valle Square

MONSIGNOR RAUL DEL VALLE SQ. Hunts Point Ave &, E 163rd St (1909) Raul del Valle was a Catholic priest that emigrated from Cuba to the United States in 1961, holding several parish and teaching assignments until he was made pastor of Saint Anselm Parish in 1976. After rehabilitating and revitalizing the church, he took on the deteriorated Church of Saint Athanasius in 1980, where he was a religious leader as well as a laborer. He was appointed Chancellor of the Archdiocese of New York in 1985, the first born in Latin America. The land where this square is located was acquired by the City of New York in 1909, and was named Crames Square in 1923 in honor of Private Charles Crames who died in World War I. In 1991, at the request of Community Board 2, it was renamed after Monsignor del Valle, who had passed away in 1988. It remains a transportation hub and community staple, hosting a variety of activities for people of all ages.
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Hunts Point Railroad Station
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Hunts Point Railroad Station

FORMER AMTRAK STATION 910 Hunts Point Ave (1909, Cass Gilbert) National Register of Historic Places Due to subway development and population growth in The Bronx, the New York, New Haven, and Hartford Railroad built this station in anticipation of an increase in demand for train service, connecting commuters to Grand Central. However, lack of passengers made it financially impossible to maintain and it was closed in the 1930s. It is one of several buildings designed by noted architect C. Gilbert, known for the Woolworth Building and the Custom House, among others. After its closing, the French Rennaisance structure was repurposed for commercial use, losing many of its polychrome terra cotta on the south façade, facing the Avenue. However, the north façade, where stairs once went down to train platforms, is largely intact. In recent years, a local entrepreneur has been working towards redeveloping it into an event & performance venue. It was listed on the National Register in 2022.
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Engine Co. #94, Hook & Ladder #48
Engine Co. #94, Hook & Ladder #48 icon

Engine Co. #94, Hook & Ladder #48

FDNY ENGINE 94 / LADDER 48 / BATTALION 3 1226 Seneca Ave (ca. 1912, Frank Helmle) After the city’s consolidation in 1898, the various existing fire departments were unified into the Fire Department of the City of New York (FDNY). This led to standardization of fire stations, with early designs being developed by Napoleon LeBrun & Son. Later ones were made by in-house architects and outside firms. Engine 94 was part of a group of 42 new firehouses commissioned in 1912 by the city as part of the modernization of their fire facilities, which now included motorized firetrucks. Superintendent of Public Buildings of Brooklyn, Frank Hemle, shared the contract with two other firms, and designed the Brooklyn Central Office Bureau of Fire Communications Building, a NYC Landmark. The three-story brick structure features an open-air roof gallery with a mansard roof, and colorful terra cotta shields as embellishments. It was one of the many projects reviewed by the NYC Art Commission. Other notable examples of Hemle’s work during his tenure are the Boathouse (1905) and Tennis House (1910) at Prospect Park, and shelters at Monsignor McGolrick Park and in Fulton Park. After leaving his position with the city, he returned to private practice and continued his successful career.
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Sunnyslope Manor
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Sunnyslope Manor

SUNNYSLOPE MANOR 812 Faile St (ca. 1860) NYC Individual Landmark This unusual Gothic Revival manor house is a rare example of mid-19th century architecture in then rural Westchester County. The 14.6-acre estate belonged to Peter S. Hoe, from R.M. Hoe & Company, one of the most innovative and successful manufacturers of printing equipment in the nineteenth century. At the time, Hunt’s Point was part of West Farms, a quiet area of estates and manor houses. Sunnyslope was designed in the mid-19th century picturesque tradition, which produced many of the finest estates in New York City. A square, compact, high-style stone villa, it holds great resemblance with several of the designs by Calvert Vaux, the English-born associate of Andrew Jackson Downing and Frederick Law Olmsted. Although Peter Hoe sold Sunnyslope in 1864, it remained a country estate for the next several decades, even after New York City’s annexation in 1874 of West Farms and the rest of the West Bronx. Eventually, like most Bronx estates, the acres surrounding Sunnyslope were sold off and developed, but the house survived and is currently home to the Temple AME Church. It was designated as a NYC landmark in 1981.
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Public School 48
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Public School 48

JOSEPH R. DRAKE PS 48 1290 Spofford Ave (1914-16, CBJ Snyder - renovations 2006-08, Nelligan White) Designed in the Collegiate Gothic style, this prominent five-story structure was built of solid brick exterior walls with limestone and decorative terra cotta details. Its floor and roof are concrete slabs supported on concrete encased steel beams that are, in turn, framed into the masonry. Despite more than a dozen upgrades over the course of a century, deterioration and water infiltration required for more extensive repair work to be done in 2006. This also included a complete replacement of the building’s masonry enclosure with a modern masonry curtain wall assembly. In 2013, a group of students and teachers made headlines when, as part of a class project, they identified an area outside the cemetery at Joseph Rodman Drake Park as the likely site of an enslaved African burial ground. Their theory was proved by a team of scientists from the Department of Agriculture, and the Park renamed to acknowledge these findings.
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J.R. Drake Park & Enslaved African Burial Ground
J.R. Drake Park & Enslaved African Burial Ground icon

J.R. Drake Park & Enslaved African Burial Ground

J. R. DRAKE PARK & ENSLAVED AFRICAN BURIAL GROUND Drake Park South &, Hunts Point Ave (1915) The Hunt family were among the first English settlers that farmed the area during the 18th century. In 1729, they established a cemetery at the entrance to Planting Neck (Hunt’s Point), which was soon shared with other families associated with the settlement and development of the Bronx. Elizabeth Hunt’s marker is the oldest surviving one in the cemetery, and the last known interment was of William Whitehead (family association unknown), in 1852. Across the road from the main cemetery there is a small burial ground for enslaved African people. While no above-ground evidence remains, a preliminary ground-penetrating-radar survey suggests that burials may remain. During the late-19th century, both cemeteries became overgrown and fell into disrepair. Proposals were made to develop the land, but the public rallied against it and in 1909 the City acquired the property. The park was named in honor of Joseph Rodman Drake in 1915, a celebrated author of poems such as “The Culprit Fay” and “The American Flag”. A NYC native, he was a friend of the Hunts and was buried in the family cemetery. His grave is marked by a seven-foot-high marble shaft installed by the Bronx Society of Arts and Science in 1915, which includes a poem by his friend Fitz-Greene Halleck. Over the years, the park has undergone a series of restoration efforts, including repairs to stones and the fence, new plantings, and the creation of pathways throughout it.
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1121 Viele Avenue
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1121 Viele Avenue

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