I. Almy, Bigelow & Washburn Shopping

9/26/25 20 Comments

Authored & Curated By

M.J.G.

Modern Shopping
To this day, many people are surprised that in the latter half of the 19th century, shopping in stores became increasingly popular, with a wealth of goods available. In many respects, the late 19th century marked the beginning of the life we live today: the middle class was booming, indoor plumbing was gaining traction, larger homes were becoming affordable for the middle class, and buying items for the home—along with catalog orders—was gaining ground.

While this article isn’t about homes, it is a photo study of the interior of the store that furnished them—how it looked, and the interior design that inspired people.

Almy, Bigelow & Washburn began when Quaker merchant James F. Almy opened a dry-goods shop in 1858 at 156 Essex Street, moving in 1860 to 188 Essex Street in downtown Salem. During the 1860s Walter K. Bigelow joined Almy, and later E. Augustus Washburn rose to partnership, at which point the firm adopted the name Almy, Bigelow & Washburn. Through the late nineteenth century, the business expanded from a dry-goods store into a full-line department store on Essex Street, becoming known locally simply as “Almy’s.”

At the 50th anniversary in 1908, a commemorative pamphlet was published. This pamphlet can be found here.

1890 Sanborn Map
This map provides a clear view of the building’s large footprint—even before it was expanded to the left. Notice the drawing also notes skylights, and an elevator. We’ll see both of those.

The building was expanded multiple times, growing into a large shopping facility that eventually absorbed the buildings to its left.

The Main Entrance
The entry, identified on the photo as a vestibule, echoed the domestic stylistic choices of the era. In this photo, you can see large plate-glass windows, carved wood details, gas lighting, and stained-glass transoms above.

The company name in the stained-glass windows must have been especially striking at night from the inside looking out. The fixture out front likely illuminated the stained-glass transoms delicately from the outside in. The columns on the left and right are distinctive in their design.

The front door window shades could have come directly from the store’s own inventory and feature a stick-frame border with rings to raise and lower them.

Here we have a closer view of the stained-glass window pattern on the left side.

This style of nameplate was very popular on stores during this period. It was a bold, sophisticated look.

Before going inside people often window shop. The East Window features a beautifully arranged display: one side with socks and stockings, the other with artistic goods. Notice the large brass rails designed to prevent people from leaning on the glass.

Art Materials and Stamping are two keywords intended to attract creative shoppers into the store, adding the useful to the ornamental display of objects. Perhaps the 50 cent corets was also a pull for ladies.

The exterior fixture has a hooded, bulky, and bold design. The hood helps keep off rain—like an umbrella—and also reflects light downward.

This display is similar to the other, featuring a different creative arrangement of summer silks. “Summer silks” was a late-19th-century retail term for lightweight silk dress goods meant for warm weather—typically foulard, surah, China silk/habotai, pongee/tussah, and airy open weaves like grenadine—sold in soft colors or prints for dresses and waists and heavily promoted in seasonal window displays.

Here we see an attractive leaded-glass window. Below it, the window display features rolls arranged in a symmetrical pattern.

It would be fascinating to know the colors displayed in these windows. The choice to place the doll baby at the center creates a deliberate focal point.

Now let’s go inside. Today, we only have time to visit the Handkerchief and Linen Departments, and then rest in the Parlor.

The grand staircase inside is much like what we’ve seen in people’s homes. Two tall gas lamps on the newel posts adorn the staircase and add refinement to the space. The painted lettering on the wall—Aesthetic Movement in style—directs visitors upstairs to those services.

Closer inspection of the staircase reveals a distinctive yet sturdy-looking sawn balustrade with a matching wood dado. The newel post is notably bold. One wonders what is in all the boxes under the stairs.

An entire department dedicated to handkerchiefs reflects a world before disposable tissues. A wide variety of designs, materials, and patterns were offered. There is also an elevator lift visible in this area.

Even more fascinating in this photo are those visible “tracks.” These were the store’s overhead cash-carrier (“cash railway”)—wires/rails that whisked a small cup or trolley containing the clerk’s sales slip and the customer’s cash to a central cashier, who counted change and sent it back. These systems (pioneered and mass-marketed by Lamson in the 1880s) came in variants like the Ball, Level Wire, and later Rapid Wire carriers; larger stores later added pneumatic tubes. They reduced pilfering, centralized bookkeeping, and sped transactions—very different from how we pay today.

These young employees at the shop—and perhaps the boy in the elevator car—likely operated the lift by pulling the lever up and down.

How old were store workers in the 1880s? Large dry-goods and department stores commonly hired “cash boys” and “cash girls” in their early teens (roughly ages 10–16). The 1880 U.S. Census even recorded occupations for people as young as 10, and reform-era photos show very young “cash boys” still in stores into the 1910s. Sales clerks were often older teens and young adults, with adult floorwalkers and department heads supervising.

A close-up view of the gas lamps reveals their modest ornamentation. Skylights in the ceiling appear to provide additional natural light.

The elevator cage and wood paneling are very attractive and must have been a novelty—a fun ride for children and adults who had yet to experience one. To the far right, above the lady’s head, you can see a wire or rope basket that caught the ball carrier for money or receipts. In the film Life with Father, there’s a scene in which the family visits a store with a similar system in use.

Every house needs linens and towels. Imagine walking through this department, taking in the neatly arranged displays. Mass-produced goods made it more affordable for people of all classes to have the basic everyday items needed to keep clean!

In this view, we get a closer look at linens hanging directly from the tracks. 10 cents, 15 cents, and 20 cents for these hanging towels seems shocking to us today. One wonders whether this ever caused a cash-ball carrier to jump the rail.

The linen department offers a fantastic view of the winding web of tracks. To the left, the ceiling shows traces of stenciling. In the distance, you can see the round rosettes from which the light fixtures extend.

Ball in Motion
The Up-to-Date Store (1909) in Coolamon, NSW, preserves an early Lamson cash-ball installation—often described as the only known ball-style cash railway remaining in its original location. Local sources repeat the claim; the NSW heritage listing confirms it is unique within New South Wales and still in situ.

Visit the website of the store here.

A fantastic video of this device in motion can be found here.

Moving into the next department, we find inventory ready to sell. The room features a variety of fixtures, simply stenciled ceilings, and a beautiful wood counter for conducting business.

These men stand ready to assist you. The man on the right clearly moved during the exposure.

Above the men, you can make out a large number of packaged items. Above that, you can see light from one of the skylights and an ornamental border of some sort.

The labels on the linen products are fascinating and markedly different from what we see today.

This view shows more of the inventory, stacked and price-tagged. In the foreground, we get a nice, clear view of the ball mechanism and track.

What was a “Ladies’ Parlor” in a store?

Late-19th-century dry-goods and department stores often provided a Ladies’ Parlor as a comfortable, respectable space for women shoppers to pause between departments. These rooms encouraged longer visits (and thus more sales) by offering amenities that echoed a well-appointed home.

Typical features & purposes:

Rest & waiting area: Sofas, chairs, magazines, and a quiet place to regroup or wait for companions.
Convenience: Adjacent lavatories, washstands, mirrors, and sometimes small changing rooms.
Service desk: Parcel-check, message/errand services, sewing/repair help, and information assistance.
Comforts: Stained glass, carpets/Lincrusta, a fireplace, and (later) combination gas-electric lighting to feel inviting and “domestic.”
Privacy & propriety: A socially acceptable space for unaccompanied women to rest without stepping back onto the street.

A closer look at the stained glass transom in the background and the simply ornamented archway in the sink housing nook.

It is unclear where this door led; it appears small—perhaps a toilet room or a changing room—but it would have been nicely lit by the muted stained glass.

The Ladies’ Parlor used Lincrusta fill pattern No. 53 (“Shell”) and appears to include a Lincrusta frieze.

The marble-top sink, with its Eastlake drawer pulls, stands out in the room.

In the foreground, you can see the electric light bulb; in the distance, portions of the frieze are visible.

The mantel mirror is simple but topped with vases. In the reflection, you can see a portière-draped doorway. To the left is a round ornamental vent.

The tiled mantel is beautiful, featuring corner tiles with figural motifs.

The other side of the room was lighted by a beautiful stained glass window.

Zooming in, you can see the fine details of this figure and the craftsmanship that went into the art-glass window. In the foreground, you can see the electric light fixture with its pointed-tip bulb.

In this view of the art-glass window, we get a close look at the dog the figure is petting.

This lower portion of the window is stylized ornamentation. Looking at this window, you can’t help but wonder how brilliant the colors were.

Next time we’ll explore carpets and following that, the drapery departments…

20 Comments

Oldest

Newest Most Voted

Civility is expected. This site is devoted to historic architecture and the stories it carries, so please keep discussions within those walls. Comments are overseen by both readers and automated moderation. If you spot a remark that crosses the line, click the red flag in the upper right corner of the comment.

Political commentary of any kind is strictly forbidden.

By commenting, you are agreeing that you have read and will follow the comment policy.
[Click here to review the full comment policy.] Updated 7/21/26.

Old House Dreams does not represent this property. All listing details should be independently verified.

A collection of historic homes for those who dream...