The Ultimate Guide To Antique Button Identification: Tips And Tricks For Collectors

Antique buttons compress centuries of fashion, technology, and art into objects scarcely an inch across. For appraisers and collectors, identification hinges on a blend of construction knowledge, material recognition, close observation, and informed testing. This guide distills the techniques used by specialists to date, authenticate, and value buttons from the mid-18th century to the mid-20th century.

How Buttons Were Made: Construction Clues

Construction is often the fastest route to a date range. Examine how the button was built—front, back, and shank.

• Thread-wrapped and early handmade forms (c. 1750–1830)
  • Dorset and Death’s Head buttons are built on rings or molds with linen thread patterns. Handmade irregularities and textile cores are key tells.
• One-piece vs. two-piece metal (c. 1800–1900)
  • One-piece: face and back are a single stamped or cast plate; shank often soldered. Common on early military and livery buttons up to the 1830s.
  • Two-piece: a separate domed face crimped to a back plate (often with a raised rim and central hole for a wire shank). Dominant from the 1830s through late Victorian era.
• Sew-through vs. shank
  • Sew-through (2- or 4-hole): typical for shirts, undergarments, and utilitarian uses; holes on quality older examples are slightly countersunk and evenly spaced.
  • Shank: loop on the back (wire, cast, or “self-shank” of the same material in glass/ceramic).
• Glass and ceramic methods (c. 1840–1910)
  • Pressed glass (including black glass) with molded designs; some have embedded metal foils (“twinkles”) or luster finishes.
  • Porcelain “china” buttons include transfer-printed calicos (1840s–1870s), painted or stenciled florals, and lusterware.
• Early plastics (c. 1875–1950)
  • Celluloid appears by the late 1870s; casein/galalith by the 1900s; Bakelite catalin era peaks 1930s–40s. Constructions include laminated layers, carved or machined shapes, and embedded metal or fabric elements.

Other time anchors:

• Military/livery buttons evolved in form and backmarks; U.S. two-piece convex brass dominates Civil War era, while earlier pieces are often one-piece.
• Victorian mourning fashions drove a flood of black buttons in jet, glass, gutta-percha, and vulcanite (1860s–1880s).
• Art Nouveau (c. 1895–1910) shows flowing, organic relief; Art Deco (c. 1920s–30s) favors geometric stacks, laminations, and contrasting inlays.

Material Identification: Natural, Glass, Metal, and Early Plastics

Correctly recognizing materials narrows date ranges and value. Use a 10x loupe, magnet, scale, and good lighting. Avoid destructive tests.

Natural materials

• Bone: tiny dark pores (“Haversian canals”) visible under magnification; takes a warm patina. Often 19th-century utilitarian.
• Horn: translucent brown edges if thin; laminar structure; warm feel; sometimes pressed with patterns.
• Ivory vs. vegetable ivory:
  • Ivory (subject to trade restrictions) shows intersecting Schreger lines under magnification; heavier than bone; smooth, creamy luster.
  • Vegetable ivory (tagua nut) has radiating grain from a central point, common c. 1870–1900.
• Mother-of-pearl (MOP): iridescent nacre; two-hole “cat’s-eye” style often beveled to form an eye-like reflection; edges are crisp when well-made.
• Jet: lightweight, warm to touch, can be carved with sharp detail; leaves a brown streak on unglazed porcelain; prized mid-Victorian.

Metals

• Brass: yellow tone, non-magnetic; period gilding can remain bright in protected recesses. Patina browns; cleaning can destroy value.
• Copper: reddish tone, often for backs or economy lines.
• Silver: hallmarks rare on buttons but present on jewelry buttons; tarnish blackens; weighty.
• Steel: ferromagnetic; cut steel buttons have faceted riveted studs on a metal base, popular c. 1780–1860.
• Pewter/tin alloys: soft, gray, sometimes with mold seams in early cast types; common in 18th–early 19th centuries.

Glass and ceramic

• Black glass vs. jet: glass is colder and heavier; mold seams and sharper reflections; no brown streak. Often with luster finishes or painted gold highlights.
• Satsuma and other ceramics: crackle glazes with hand-painted scenes (late 19th–early 20th). China calicos have underglaze transfers with crisp dots and lines.

Early plastics

• Celluloid: light, warm; can show layered “ivoroid” grain, tortoiseshell effects; may smell of camphor when gently warmed. Flammable—avoid friction testing.
• Bakelite (phenolic resin): solid colors or marbled; often weightier; when rubbed briskly or warmed, can emit a phenolic odor; many collectors use a light polish test to detect yellow coloration on a swab. Common in 1930s novelty and geometric forms.
• Casein/galalith: milk-based, often bright dyed colors; can warp with moisture; a faint milky odor when wetted; popular 1910s–40s.
• Gutta-percha/vulcanite: hard rubber family; deep brown to black; sulfur smell when warmed; often molded relief, mid- to late-19th century.

Tip: Build a materials reference tray with known examples to calibrate your senses for weight, temperature, and sound (“tap tone”).

Backmarks, Shanks, and Backs: What The Reverse Reveals

The reverse side is where makers advertised quality, governments marked contracts, and construction secrets hide.

Backmarks and inscriptions

• Military and livery: names like Scovill, Waterbury (U.S.), or Firmin (U.K.) can anchor pieces geographically and temporally. Certain eagles, regimental devices, and state seals changed over time.
• Quality marks: “TREBLE GILT,” “EXTRA RICH,” “EXTRA QUALITY,” stars or rings of dots encircling the backmark often indicate mid-19th-century brass buttons.
• Country/language cues: “PARIS,” “DEPOSE,” “ALPACCA,” “NICKEL SILVER” suggest continental manufacture and particular alloys.

Shanks and attachments

• Wire loop shanks: inserted through a hole in the back and secured by crimping or solder—ubiquitous on two-piece metal and some glass.
• Cast or integral shanks: in glass and ceramic (“self-shank”) or cast metal; typically more robust.
• Solder evidence: smooth, neat solder puddles and even crimping are hallmarks of period manufacture; bright, blobby solder can indicate later repair or reproduction.

Back surface features

• Depressed channel backs (a grooved ring around the shank area) appear on many 19th-century two-piece buttons.
• Thread wear: authentic use creates a polished groove where thread met metal shanks; uniform, harsh wear can indicate aggressive cleaning rather than genuine age.
• Hole finish on sew-throughs: older quality buttons have slightly beveled, cleanly drilled holes; sharply chipped holes suggest later drills or poor manufacturing.

Motifs and Techniques: Dating By Design

Design vocabulary often reflects its era.

• Georgian to early Victorian (c. 1780–1850)
  • Cut steel sparkle, engraved brass, glass with foil backs, neoclassical motifs, and early pictorials. Thread-work forms are still in use.
• Mid-Victorian (c. 1850–1885)
  • Pictorial brass and copper with flora, fauna, and allegory; black mourning buttons in jet, black glass, and vulcanite; enamel accents; transfer-printed china florals and calicos.
• Late Victorian to Edwardian (c. 1885–1910)
  • High relief Art Nouveau motifs: ladies’ profiles, irises, dragonflies; French and Austrian enamels; lustered glass; Satsuma and other ceramic pictorials.
• Interwar/Art Deco (c. 1920–1940)
  • Bold geometry, stacked laminations, bright or contrasting plastics (Bakelite, casein), machine-turned patterns, and chrome or aluminum elements.
• Specialty techniques
  • Guilloché enamel over engine-turning; saphiret/sappharine glass with color-shift; paperweight glass with enclosed millefiori; Pietra dura or micromosaic on luxury buttons.

Subject matter can also signal usage—crested livery buttons, sporting motifs for hunting attire, nautical anchors for yachting blazers, and club or school insignia.

Size, Condition, and Value: What Appraisers Look For

Size is measured in lignes (L). One ligne is approximately 1/40 of an inch, or about 0.635 mm.

• Common size ranges
  • Shirt: 14–20L
  • Waistcoat/vest: 20–28L
  • Coat: 30–40L
  • Overcoat and cape: 40–60L Knowing standard sizes helps confirm intended use and spot mismatched “sets.”

Condition

• Original surface is king. Patina, gilt in protected recesses, intact enamels, crisp molding, and undisturbed backs carry premiums.
• Damage that reduces value: cracks in glass/ceramic, insect damage on horn, corrosion on iron/steel, degraded celluloid, replaced shanks, and over-polished metal.

Completeness and sets

• Matched sets (correct number and size for a garment, consistent motifs and backs) often command higher prices than singles.
• Uniform buttons with documented regiments or specific makers can be significantly more valuable; provenance amplifies this.

Rarity and desirability

• Scarce motifs (mythological, high-style Art Nouveau), luxe techniques (guilloché, micromosaic), and named studio work are highly collectible.
• Market tastes evolve; currently, high-quality Victorian pictorials, cut steel in fine condition, and Deco plastics in bold forms are strong.

Quick Identification Checklist

Use this sequence to triage most buttons in under a minute.

• Observe
  • Size in lignes; color; motif; overall style era.
• Flip the button
  • Shank type (wire, cast, self-shank) or sew-through; back construction (one-piece vs. two-piece); look for channel backs, crimp seams.
  • Backmarks: maker, quality words (“TREBLE GILT”), language clues.
• Test lightly
  • Magnet test for steel/iron.
  • Weight/temperature in hand: glass/stone cold and heavy; jet and plastics warm and light.
  • Loupe: pores (bone), Schreger lines (ivory), radiating grain (vegetable ivory), mold seams, tool marks, enamel quality, wear patterns.
• Date by material + style
  • Black material? Distinguish jet (light, brown streak) vs. glass (cold, no streak) vs. gutta-percha (sulfur odor when warmed).
  • Plastics? Consider celluloid (camphor), Bakelite (phenolic odor, 1930s), casein (milky when wetted).
  • Motifs: neoclassical, Victorian pictorial, Art Nouveau, Art Deco geometry.
• Value flags
  • Original gilt, crisp details, rare motifs, complete sets, strong provenance.
  • Red flags: freshly polished brass, sloppy solder, misaligned holes, modern cast look, off-gassing or weeping plastics.

Testing and Care: Safe Methods, Common Pitfalls

Non-destructive testing best practices

• Magnet: confirms ferrous components; cut steel should attract strongly.
• Warm breath or gentle friction: can release characteristic odors (camphor in celluloid, sulfur in vulcanite, phenolic in Bakelite). Avoid heat on celluloid.
• Simulated streak: for jet, a discreet brown streak on unglazed porcelain can be diagnostic; avoid on finished surfaces.
• UV light: some plastics fluoresce; helpful but not definitive.

Pitfalls and reproductions

• Reproduction brass pictorials: often thicker, softer detail, artificially dark patina, and modern font backmarks. Examine crimp quality and shank solder.
• Drilled glass fakes: sharp, white-chipped holes and modern grinding marks.
• Over-cleaning: removes original gilt and patina, slashing value. Never buff gilt or cut steel.
• Celluloid instability: avoid sealed boxes and heat; deterioration (“vinegar syndrome,” weeping) can harm nearby materials.

Storage and cleaning

• Store by material in inert containers (acid-free cards, polyethylene sleeves). Avoid PVC.
• Keep celluloid separate and ventilated.
• Dry clean only: soft brush, microfiber cloth. No soaking for porous materials (bone, wood, horn). For metal, minimal and reversible conservation only.

Documentation

• Record dimensions, weight, backmarks, construction details, and provenance. Good notes elevate appraisal credibility and future research value.

FAQ

Q: How can I quickly tell black glass from jet? A: Check weight and temperature—glass is colder and heavier; jet feels warmer and lighter. Under gentle rubbing, jet may leave a brown streak on unglazed porcelain; glass will not. A loupe often reveals mold seams on glass, while jet shows crisp carved edges.

Q: What do “TREBLE GILT” and “EXTRA QUALITY” mean on backs? A: These are 19th-century quality marks, commonly on brass/gilt buttons. They indicate gilt thickness or marketing claims and can help date buttons to the mid-1800s. Use them alongside construction and motif clues for accuracy.

Q: Are calico china buttons always mid-19th century? A: Transfer-printed “calico” porcelain buttons are strongly associated with c. 1840s–1870s. Later revivals exist, so confirm with hole finishing, back style, glaze quality, and wear patterns.

Q: What is the ligne measurement in inches or millimeters? A: One ligne is approximately 1/40 inch (about 0.635 mm). For example, a 40L button is roughly one inch across; 20L is about half an inch.

Q: Should I polish antique brass buttons? A: No. Polishing removes original gilt and patina, which are crucial to authenticity and value. Gently dust only; consult a conservator if active corrosion is present.

With practice, the combination of construction analysis, material recognition, backmark reading, and stylistic dating will make identification faster and more reliable. Build your reference set, document your observations, and handle surfaces conservatively—your buttons (and their stories) will reward the effort.