Unlock The Secrets Of The Past A Beginners Guide To Identifying Antique And Vintage Buttons

Buttons are small, but they carry big stories—of fashion, industry, technology, and personal taste. For appraisers and enthusiasts, learning to identify antique and vintage buttons is both rewarding and practical: it helps you authenticate, date, and value items accurately. This guide lays out the core methods used by dealers and collectors, from quick triage to deeper material analysis, manufacturing clues, and careful handling.

Learn the Language: Anatomy and Core Concepts

Before you can identify, you need vocabulary:

• Face: The decorative front.
• Rim/edge: The perimeter; can be plain, reeded, beaded, or crimped.
• Back: Often where key clues live—construction seams, shanks, and marks.
• Shank: The loop or protrusion used to sew the button on (wire shank, cast shank, self-shank, or sew-through holes).
• Sew-through: Buttons with two or four holes instead of a shank.
• Backmarks: Maker names, quality marks, patent dates, and country of origin stamps.
• Size: Button size is commonly measured in lignes (L). 40L = 1 inch; 1 ligne = 1/40 inch (~0.635 mm).

A jeweler’s loupe (10x), a small magnet, digital calipers, a soft light, and a micro-scale are the basic tools for button work.

The Fast Triage: How To Approach Any Button

Use a consistent workflow:

1. Observe construction from the back first.
   • Is it one-piece cast metal, a two-piece stamped shell with a soldered shank, a molded plastic with integral shank, or a sew-through?
2. Test with a magnet.
   • Steel responds; brass, copper, silver, gold, aluminum, and most plastics do not. Steel points to Victorian steel-cut, late-19th pressed steel, or later economy buttons.
3. Weigh and listen.
   • Cast metal and glass feel heavier than plastic. Gently tap against a toothpick: glass “tinks,” plastic is dull, Bakelite is notably dense.
4. Look for seams and tool marks.
   • Mold seams (plastics, glass), lathe lines (turned horn or bone), solder puddles (metal shanks), and rough sprues reveal techniques and age.
5. Check the shank type.
   • Cast solid shanks are common on early and military buttons.
   • Wire shanks soldered to a backplate are typical on 19th-century brass and 20th-century glass.
   • Self-shanks (integral) appear on molded plastics and some glass/ceramics.
6. Read the backmark.
   • Identify maker, quality statements (e.g., “TREBLE GILT,” “EXTRA RICH”), patent dates, and origin (“Made in…,” “Occupied Japan,” “W. Germany,” “Czechoslovakia”).
7. Identify material families.
   • Metal, glass, ceramic/porcelain, organic (shell, horn, bone, jet, corozo), or early plastic (celluloid, Bakelite, casein/galalith, Lucite).
8. Measure in lignes and note color/finish.
   • Size and hue variations can be era-specific (e.g., 1930s Deco colors, Art Nouveau matte gilt).
9. Compare motifs and style.
   • Pictorial themes (mythic figures, animals, floral Art Nouveau, geometric Deco) offer dating clues.

Document all observations before cleaning; condition and finish are crucial to value.

Materials That Tell Time: What to Look For

Accurate material ID is central to dating and value. Here’s what distinguishes the main categories.

• Metal

  • Brass: The workhorse of 18th–19th century buttons. Early gilt brass often shows “brightline” reeded rims and quality backmarks like “TREBLE GILT” rather than a maker. Two-piece brass with soldered wire shank dominated the 1800s.
  • Tombac/pinchbeck: Brass-like copper alloys used for gilt looks in the late 18th–early 19th century; warm color, non-magnetic.
  • Pewter: Soft, gray, sometimes with turn-lines; common in 18th–early 19th century and utilitarian buttons.
  • Steel: Cut steel (faceted studs on a base) sparkles; was fashionable late 18th–19th century. Later pressed steel economy buttons are lighter and often painted or japanned.
  • Silver/gold: Less common; hallmarks can date British pieces. Beware later plating over base metal.
  • Enamel on metal: Cloisonné or champlevé indicates craftsmanship; 19th–early 20th century examples are collectible and often pictorial.

• Glass

  • Black glass vs. jet: Black glass is cool, glossy, and often shows a greenish edge under strong light; jet (fossilized lignite) is lightweight, warm to touch, and can scratch to a brown dust. Victorian mourning brought both into fashion, 1860s–1880s.
  • Czech (Bohemian) pressed glass: Rich colors, gold and silver overlays, and jewel-like finishes surged in the 1920s–1930s. Shanks are commonly metal inserted with cement.
  • Luster and iridescent finishes (“oil-on-water”) are often early 20th century.

• Ceramic/Porcelain

  • China (Prosser) buttons: Pressed porcelain introduced mid-19th century; common in white, sometimes with two holes and blue transfer “calico” patterns (c. 1840s–1860s). Later versions show molded designs and colored glazes.
  • Satsuma: Japanese pottery with crackled glaze, gilt and enamel painting; popular late 19th–early 20th century export. Usually has a metal loop shank embedded.

• Organic

  • Mother-of-pearl (MOP): Iridescent, cold, concentric nacre layers visible at the edge. Chamfered sew-through holes suggest quality. Popular across the 19th–20th centuries.
  • Horn/bone: Warm, often with grain or pores; turned on a lathe (look for concentric tool marks). Late 18th–19th century.
  • Jet/gutta-percha/vulcanite: Mourning-era materials, 1860s–1880s. Gutta-percha and vulcanite may smell sulfurous when warmed; jet is lighter and chips differently.
  • Corozo (vegetable ivory): Fine radial/cross-hatched grain visible under magnification; widely used late 19th–early 20th century.

• Early Plastics

  • Celluloid (nitrate): Light, can amber with age, often with a camphor odor when warmed. Used from the 1890s–1920s. Frequently laminated over metal or fabric; highly flammable—avoid heat.
  • Bakelite (phenolic): Dense, “clacky,” often in marbled or “apple juice” translucent tones. 1930s–1940s. A gentle rub to generate warmth can release a faint formaldehyde/phenolic scent; the Simichrome polish test (on a Q-tip) turning yellow is a classic non-invasive indicator.
  • Casein/galalith: Milk-based, takes rich dyes; 1920s–1930s. Warmed or wetted, it can smell slightly milky. Often shows fine crazing over time.
  • Lucite and modern acrylics: Clear/colored, bubble-free, light, with crisp molding; common 1940s–1960s and later. Often “confetti,” glitter, or embedded fabrics.

Dating Clues: Construction, Marks, and Style by Era

Use multiple indicators together for more reliable dating:

• Late 18th–early 19th century

  • One-piece cast or heavy gilt brass with bright cut rims; quality backmarks (“TREBLE GILT,” “ORANGE GILT,” “EXTRA RICH”).
  • Pewter and brass military/livery with cast shanks.
  • Cut steel faced buttons on a base plate.

• Mid 19th century (1840s–1860s)

  • China/Prosser sew-throughs (white, “calico” blue transfers).
  • Black glass and mourning materials emerge from the 1860s.
  • Two-piece brass with soldered wire shanks remain standard.

• Late Victorian to Art Nouveau (1870s–1910s)

  • Picture buttons with mythological figures, animals, and florals; repoussé brass and copper.
  • Satsuma, fine enamels, and mixed-material constructions.
  • Celluloid overlays on metal.

• Art Deco and interwar (1920s–1930s)

  • Czech pressed glass in bold colors, rhinestones, and foil backs.
  • Casein and early plastics in geometric designs.
  • Maker and origin stamps expand with global trade.

• 1930s–1940s

  • Bakelite—carved, laminated, and figural forms with integral shanks or sew-throughs.
  • Wartime materials include pressed composition and wood.
  • “Made in Occupied Japan” (1947–1952) marks help bracket postwar imports.

• Postwar mid-century (1950s–1960s)

  • Lucite, glitter/confetti, and novelty plastics.
  • Origin marks such as “W. Germany” (1949–1990) and “Czechoslovakia” (intermittent 1918–1992) assist in broad dating.

Backmarks that help:

• US makers: Scovill Mfg Co. (Waterbury, CT), Waterbury Button Co., and others on uniform/livery. Specific wording styles can narrow date ranges.
• British makers: Firmin & Sons, Jennens & Co (pre-1869), “Buttons Ltd London” (20th century). “Ltd” usage indicates late 19th–20th century.
• Quality phrases (“BEST QUALITY,” “TREBLE GILT”) are not maker’s marks; they typically indicate early 19th-century gilt brass quality.
• Country-of-origin: “Made in Germany” (pre- and post-WWI), “Occupied Japan” (1947–1952), “W. Germany” (post-1949), “Czechoslovakia,” “Austria,” “France,” “Italy.” These stamps reflect trade law eras and can be powerful dating tools.

Shanks and attachments:

• Cast integral shanks: early metal buttons and quality military/livery.
• Soldered wire shanks: 19th–early 20th century metal and glass.
• Self-shanks on molded plastics/glass: largely 20th century.
• Sew-throughs with chamfered holes: common on MOP, china, and corozo.

Style cues:

• Naturalistic high-relief florals = Art Nouveau (c. 1895–1910).
• Geometric/streamlined motifs = Art Deco (c. 1920s–30s).
• Pictorial themes, story scenes, and mythic figures are often 19th–early 20th century “picture buttons.”

Value, Appraisal, and Authenticity

What drives value:

• Rarity and subject matter: Unusual pictorials, scarce materials, or documented makers.
• Condition: Gilding intact, crisp molding, original shank present, no chips/cracks/crazing.
• Size and set: Large sizes (over 30L) and complete sets increases desirability.
• Craftsmanship: Fine enamel, high-relief repoussé, intricate glasswork, or carved Bakelite command premiums.

Red flags and reproductions:

• Military and livery buttons are widely reproduced. Confirm backmarks against known variants, and inspect the relief sharpness and shank construction. Modern casts often show pitting and blurred detail; solder may look too bright.
• Artificial patina on brass can mask newness—look at hidden areas (inside the shank loop, under rims) for consistency.
• “Bakelite-style” modern plastics lack the density and phenolic smell; many modern pieces have high-clarity acrylic with embedded glitter.

Documentation:

• Record measurements (lignes), weight, material assessment, backmarks, and provenance. Photographs of the back are as important as the front.

Care, Conservation, and Handling

Buttons are mixed-material objects; treat them conservatively.

• Cleaning

  • Dry methods first: soft brush, wooden toothpick, microfiber cloth.
  • Avoid soaking celluloid or casein; moisture can cause clouding or cracking.
  • Do not polish gilt brass; gold wash is thin and easily removed. A tiny amount of microcrystalline wax can protect and improve legibility without abrasion.
  • For glass and porcelain, distilled water on a swab is usually safe; keep water off embedded metal shanks to prevent rust.
  • Never use ammonia on copper alloys with gilding or on shell.

• Storage

  • Separate celluloid from other materials; it can off-gas and damage neighbors.
  • Use acid-free cards and boxes; avoid PVC flips and rubber bands.
  • Control humidity (around 40–50%) to prevent corrosion and mold; add silica gel if needed.
  • Pad mounts so shanks aren’t stressed; store heavy buttons flat.

• Handling

  • Support by the edges; avoid torque on the shank.
  • Label trays with size (L), material, and any backmark notes for quick reference.

Quick Identification Checklist

• Magnet test: steel or not?
• Back first: shank type, seams, solder, and any marks.
• Measure size: record in lignes (L); note weight and density feel.
• Material family: metal, glass, ceramic, organic, or early plastic.
• Style cues: Victorian mourning, Art Nouveau, Art Deco, mid-century novelty.
• Backmarks: maker, quality marks, patent dates, country-of-origin.
• Condition: intact shank, finish/gilding, chips/cracks/crazing, replaced parts.
• Provenance: notes from garments, uniforms, or estates; sets vs singles.

FAQ

Q: How can I safely test whether a button is Bakelite? A: Avoid hot-pin tests—these damage and are risky. Instead, warm the piece in your hand and check for a faint phenolic smell. The Simichrome test on an inconspicuous spot (yellow on the swab) is widely used. Confirm with weight and sound—Bakelite is dense and “clacky.”

Q: Are quality backmarks like “TREBLE GILT” maker’s marks? A: No. These are quality statements common on early 19th-century gilt brass and don’t identify a specific maker. Look for names (e.g., Scovill, Firmin) or patent dates to attribute and date more precisely.

Q: What’s the difference between black glass and jet? A: Jet is lightweight, warm to touch, and can be scratched to a brownish powder; edges are not greenish in transmitted light. Black glass is colder, heavier for its size, gives a clear “tink” sound, and often shows a green or bluish edge under strong light.

Q: How do I measure button size correctly? A: Use calipers to measure diameter and convert to lignes (L). 40L equals 1 inch; 1 ligne is 1/40 inch (~0.635 mm). Record the size in L for comparison with catalogs and collector references.

Q: Should I polish old brass buttons? A: Generally no. Polishing removes original patina and thin gold wash, reducing value and historical integrity. Clean gently with a soft brush and consider a microcrystalline wax to protect the surface.

By combining material identification, construction analysis, and stylistic context—and by treating each button as a small artifact—you’ll quickly sharpen your eye. With practice, those tiny circles of history will reveal who made them, when they were worn, and why they still matter.