Button Up Your Knowledge Discover Antique Button Identification

Antique buttons are small, but they carry big clues about fashion, technology, and social history. Whether you appraise for a living or hunt treasures at flea markets, mastering antique button identification helps you date garments, verify provenance, and price pieces with confidence. This guide organizes the essentials—materials, construction, backmarks, and themes—into a practical, field-ready approach.

Anatomy and Materials: What You’re Looking At

Start identification with the three M’s: material, method of attachment (shank/holes), and manufacturing (one-, two-, or multi-piece). Each narrows the time frame and type.

• Metals

  • Brass, tombac, and pewter dominate the 18th–early 19th centuries. Early “flat buttons” are one-piece with integral or cast shanks. Pewter often shows a cast loop and softer detail.
  • Two-piece gilt brass (a domed shell soldered to a back with a wire loop) becomes common by the mid-19th century. Look for solder lines and a separate loop.
  • Silver and coin silver appear on livery and high-fashion buttons; pinchbeck (copper-zinc alloy) mimics gold in Georgian/Victorian buttons.
  • Steel-cut buttons (faceted, bright steel riveted to a base) sparkle on mid-19th century garments.
  • Uniform buttons are usually brass or gilt brass with precise die-struck detail.

• Glass

  • Black glass and jet-like glass are abundant mid–late 19th century. Glass feels cool to the lip and has a vitrified sheen.
  • Pressed glass shows mold seams; luster finishes (iridescent, metallic) and painted backs are common.
  • “Calico” or paperweight-style glass pictorials (domed with embedded designs) are later 19th century to early 20th.

• Ceramics

  • China (Prosser) buttons, mid-19th to early 20th century, are hard, white bodies decorated with colored rings, dots, or transfer prints. Usually sew-through.
  • Porcelain and Satsuma pictorials (late 19th century) feature detailed enamel painting and a fine crackle glaze.

• Organics

  • Mother-of-pearl (MOP) and shell show iridescence; drilled sew-through holes have conical bores. 19th-century examples may have piqué inlay (gold/silver).
  • Bone shows tiny, dark pores; horn has layered, translucent edges. Vegetable ivory (tagua) was popular c. 1850–1910 and often dyed.
  • Jet (coal-based) is light for its size and warm to the touch; Victorian mourning fashion favored it.

• Early plastics and rubber

  • Celluloid (c. 1890–1920s): often translucent, sometimes with embedded glitter or fabric. Camphor smell when warmed. Prone to warping and ambering.
  • Casein/Galalith (c. 1905–1940s): dense, takes rich dyes and marbling; can smell like milk when warmed.
  • Bakelite/Catalin (c. 1920s–1940s): heavy for size, warm to touch, phenolic odor when rubbed; bold colors and carving.
  • Hard rubber/vulcanite (post-1851): black or brown, often matte, sulfur smell when rubbed.

Shanks and holes matter:

• Sew-through (2- or 4-hole) is common for china, shell, bone, wood, and many plastics.
• Self-shank (integral, same material) occurs in cast metal and molded glass.
• Embedded metal shanks appear in glass and ceramic buttons.
• Wire loop shanks soldered to a back are typical for two-piece metal buttons and many fashion buttons from the mid-19th century onward.

Measure correctly:

• Buttons are measured in lignes (L). One ligne ≈ 0.635 mm. Typical sizes: shirts 14–18L, waistcoats 18–24L, coats 36–44L. Size contributes to function, era, and value.

Dating by Construction and Backmarks

Construction and markings are your best clocks. Use them alongside material clues.

• 18th century to early 1800s

  • One-piece brass, tombac, or pewter flat buttons with cast or drilled shanks.
  • Simple engraved or stamped designs; minimal backmarks.

• 1820s–1860s

  • Rise of two-piece gilt brass with soldered wire shanks; domed profiles.
  • Backmarks with prideful slogans: “EXTRA RICH,” “TREBLE GILT,” “WARRANTED,” “BEST QUALITY.”
  • Steel-cut adornment popular; large “dandy” buttons early-mid 19th century.

• Mid–late 19th century

  • Explosion of materials: black glass, MOP with piqué, china (Prosser) buttons with rings/dots/prints.
  • Hard rubber (Goodyear patent 1851 appears on some), gutta-percha, and horn.
  • Pictorial themes—floral, mythological, animals—especially on pressed metal and glass.

• 1890s–1930s

  • Celluloid novelty buttons; casein marbled sets; pierced and laminated effects.
  • Bakelite/Catalin carved, laminated, and colorful in the 1930s–40s.
  • Paper cards with sets become standard retail packaging—original cards add value.

• Military and livery time cues

  • U.S. Great Seal button (eagle with shield) introduced 1902 for general service; branch-specific eagles precede it.
  • British crowns help date: Queen Victoria (1837–1901), King’s Crown (1902–1952), Queen’s Crown (1953–).
  • Maker backmarks (e.g., Scovill, Waterbury in the U.S.; Firmin & Sons, Jennens & Co. in the U.K.) with address changes and patent dates can narrow ranges.
  • Livery buttons with heraldic arms are often silvered/gilt brass or sterling; many are mid–late 19th century. Heraldic motifs can sometimes trace to a household.

Read the back carefully:

• Exact wording and punctuation matter. “SCOVILL MF’G CO. WATERBURY” vs later variants can shift a date range.
• Patent dates (e.g., 1850s–1870s) are terminus post quem.
• “Extra Rich,” “Orange Gilt,” “Best Quality” are quality marks more than brand names, typical of mid-19th century gilt buttons.

Types and Subjects: Civilian, Livery, and Military

• Civilian fashion buttons

  • Materials and shapes track taste: oversized “dandy” metals (early 1800s), sparkling steel-cuts (mid-1800s), black glass and jet for mourning (Victorian), and novelty plastics (interwar).
  • Pictorials depict flora/fauna, classical scenes, and pastimes; the higher the relief and sharper the detail, the better.

• Livery buttons

  • Made for servants of aristocratic households. Look for crests, shields, mottos, and coronets.
  • Usually high-quality gilt/silvered metals or sterling. Backmarks of London makers are common.
  • Heraldic identification can connect buttons to families, but many designs repeat motifs; caution is needed.

• Military and uniform buttons

  • Defined insignia and standardized sizes per garment location (coat front larger, cuff smaller).
  • U.S. Civil War era: state seals, eagles with branch devices; backmarks from known contractors help authenticate.
  • Post-1902 Great Seal in the U.S.; British regiments with numeric and crown variations are dateable by reign.
  • Beware reenactor reproductions: crisp but shallow detail, modern fonts, and newly bright brass are signals.

• Workwear and trade buttons

  • Durable metals or hard rubber; sometimes stamped with company names. Often late 19th–early 20th century.

Condition, Care, and Value Factors

Condition and originality drive price, followed by material, subject, maker, and rarity. Sets multiply appeal.

• Value drivers

  • Material: precious metals, high-relief pictorials, Satsuma/porcelain, carved Bakelite, and piqué MOP tend to rate higher.
  • Subject: desirable pictorial themes (mythological, finely detailed animals, unusual occupations).
  • Maker and marks: early makers, rare backmarks, clear patent dates.
  • Completeness: matched sets on original cards or in graded sizes for garments.
  • Size and scale: oversized “show” buttons and very tiny miniatures can both attract premiums.

• Common condition issues

  • Gilt loss, corrosion, and verdigris on brass; rust at iron shanks.
  • Cracks and chips in glass/ceramic; warping and camphor bloom in celluloid.
  • Degradation in hard rubber (sulfur bloom) and embrittlement in casein.
  • Over-cleaning destroys patina and value, especially on gilt.

• Care and storage

  • Clean gently: soft brush, dry microfiber. Distilled water sparingly on robust materials; avoid soaking composites and anything with paper, fabric, or inlays.
  • Never use harsh abrasives on gilt; avoid ammonia on brass with gilding.
  • Keep celluloid cool, ventilated, and away from metals and other plastics—its off-gassing can damage neighbors.
  • Use inert, acid-free cards or trays; separate by material; add silica gel for humidity control.

• Authenticity and reproductions

  • Red flags: glued-on shanks, modern Phillips screws, porous modern castings, inconsistent wear (pristine front/heavy corrosion back or vice versa), fantasy backmarks, suspiciously light weight for size.
  • Reenactment uniform buttons are widely made today, sometimes by historic firms; check for contemporary contract codes and modern fonts.
  • For plastics, be cautious with “hot pin” or chemical tests—they can scar or discolor. Use smell and weight clues, plus a known-good reference sample.

Quick Field Checklist

• Identify the material first: metal, glass, ceramic, shell, bone/horn, rubber, or early plastic.
• Check construction: one-piece, two-piece (soldered shell/back), or multi-part; look for solder seams.
• Examine the attachment: sew-through holes, self-shank, embedded shank, or soldered wire loop.
• Read the backmark verbatim; note maker, quality slogans, and patent dates.
• Measure size in lignes; note if scale matches garment type (cuff vs coat).
• Inspect detail sharpness and relief; high-quality die work suggests better age and value.
• Look for period finishes: gilt (often worn at high points), lustered glass, piqué inlay, enamel.
• Smell and weight tests for early plastics (no destructive tests in the field).
• Assess condition honestly: corrosion, chips, warping, cracks, replaced shanks.
• Cross-check for reproductions: modern fonts, glued shanks, mismatch of wear, overly bright brass with no patina.

FAQ

Q: How can I tell Bakelite from celluloid or casein without damaging the button? A: Use non-destructive cues: weight (Bakelite is dense), smell (phenolic odor when rubbed for Bakelite; camphor for celluloid; sour-milk for casein when warmed), and appearance (Bakelite takes crisp carving and saturated, often opaque colors; celluloid can be translucent or laminated with fabric; casein often shows marbling). Avoid hot pins or strong solvents, especially on mounted buttons.

Q: My gilt brass buttons say “EXTRA RICH” on the back. What does that mean? A: It’s a mid-19th century quality slogan indicating rich gilt (heavy gold finish), not a maker name. Pair it with construction (usually two-piece domed brass with soldered wire shank) and any maker/patent marks to refine the date.

Q: Are mismatched sets worth less? A: Generally, yes. Matched sets—especially on original cards—bring a premium. However, a single high-quality pictorial, a rare uniform type, or an exceptional material (Satsuma, piqué MOP, fine jet) can outvalue a common matched set.

Q: Can I safely clean verdigris from brass buttons? A: Light, dry brushing is safest. For stubborn verdigris, isolate the button and consult a conservator-grade approach; acids and aggressive polishes can strip gilding and etch metal. Never soak composite buttons, and don’t polish gilt—original patina is part of the value.

Q: What’s a quick way to date U.S. military eagle buttons? A: Look for the Great Seal (introduced 1902) for general service. Earlier eagles are branch-specific or state-seal types (Civil War and prior). Maker backmarks (e.g., Scovill, Waterbury) and construction details help narrow windows; crown styles and reigns play the same role on British buttons.

With practice, antique button identification becomes a reliable, repeatable process. Start with what you can see and feel—material, construction, and backmarks—then layer in context: fashion trends, heraldry, and military standards. Document your observations, store carefully, and you’ll build a reference-grade collection and appraisal toolkit, one button at a time.