Unlock The Secrets Of The Past Your Ultimate Guide To Antique Button Identification

Antique buttons are miniature time capsules. They reveal how garments were made, who wore them, and which technologies and tastes shaped an era. Whether you’re evaluating a single heirloom or an entire carded set, accurate identification rests on three pillars: construction, material, and context. This guide walks you through the telltale clues appraisers and seasoned collectors rely on to authenticate, date, and value antique buttons.

Read The Build: Construction Tells the Story

Start on the back. The way a button is built — and especially how the shank is formed — is one of the strongest age indicators.

• One‑piece metal buttons

  • Die‑struck from a single piece of brass or copper alloy, typically with a soldered wire loop shank.
  • Common for military, livery, and uniform buttons from late 18th through mid‑19th century.
  • Look for crisp struck details and no seam around the rim.

• Two‑piece and three‑piece metal buttons

  • Two‑piece: thin stamped shell front + separate back with loop shank. Three‑piece: adds a center layer/filler to create higher relief.
  • Popular from circa 1820s onward for gilt and decorative uniform buttons.
  • Check for a crimped rim seam, slight flex in thin shells, and a filled feel when tapped.

• Cast buttons (pewter, brass, silver)

  • Earlier pewter often has an integral cast shank; brass can show a casting gate or subtle mold lines.
  • Softer details than die‑struck pieces; uniform shrinkage marks can appear on the back.

• Shank types and what they imply

  • Wire loop shank soldered to back: ubiquitous on 19th‑century metal buttons; examine solder quality and color.
  • Integral cast shank: suggests earlier pewter or cast brass.
  • Self‑shank (molded as part of the button): common on glass and early plastic; often a raised cone or molded loop.
  • Sew‑through (2 or 4 holes): typical for shell (mother‑of‑pearl), bone, horn, and later plastic shirt buttons. Four‑hole predominates by late 19th–20th century.

• Backs and fillers

  • Paper, sawdust, or composition fillers appear in some 19th‑century three‑piece buttons.
  • Japanned (black lacquered) backs are frequent on Victorian gilt buttons to inhibit corrosion.
  • Thread wear and cloth impressions can corroborate use but do not prove age alone.

Construction clusters: a die‑struck one‑piece eagle button with wire loop shank points to early‑mid 19th century; a thin shell with a crimped seam is likely mid‑19th onward; a molded glass self‑shank suggests Victorian to early 20th.

Materials 101: From Metal To MOP To Early Plastics

Correctly naming the material moves you halfway to a date. Use a loupe and good light; avoid destructive tests.

• Metals

  • Brass/gilt brass: Bright gold plating on copper alloy; early gilt may be mercury fire‑gilded (rich, mellow glow). Period backmarks often read “TREBLE GILT” or “EXTRA RICH.”
  • Copper, bronze: Warmer tone; verdigris (green corrosion) can appear in crevices.
  • Pewter: Gray and soft; earlier pieces can be heavier with integral shanks.
  • Silver: Hallmarks possible on luxury or livery buttons; look for appropriate wear and tarnish.
  • Steel: “Tights” or “bright cut steel” buttons (faceted studs on an iron base), popular late 18th to early 19th century.

• Glass and ceramic

  • Pressed or molded glass: Often black, clear, or colored with molded patterns; self‑shank common. Czech/Bohemian glass buttons show crisp pressed designs, especially late 19th–early 20th century.
  • Enamel on metal: Glassy, fused enamel; check for chipping at edges. Inset enamel suggests late 19th to early 20th.
  • Porcelain/ceramic: Prosser‑molded white ceramic buttons (c. 1840s onward) are dense and ring when tapped; Japanese Satsuma (Meiji, c. 1880–1920) features fine crackle glaze with gilt and overglaze painting, often with a metal rim and back.

• Organic: shell, bone, horn, ivory, vegetable ivory

  • Mother‑of‑pearl (MOP): Iridescent nacre; cold to the touch; concentric layering visible at drilled holes. Abundant on 19th‑century shirts and waistcoats.
  • Bone: Off‑white, matte, with tiny dark pores (Haversian canals). Usually shows subtle grain.
  • Horn: Translucent brown/amber; may be laminated; warm and slightly flexible in thin sections.
  • Ivory: Cross‑hatching (Schreger lines) visible on cut faces; scarce in buttons and often from higher‑status garments.
  • Vegetable ivory (tagua nut): Creamy with subtle radiating grain from a center point; weighs light to moderate; widely used c. 1850–1910.

• Early plastics and rubbers

  • Gutta‑percha/vulcanized rubber (hard rubber): Dark brown/black, matte, used for mourning buttons c. 1850s–1880s; sulfur/rubber odor when warmed in hand.
  • Celluloid (cellulose nitrate): Light, sometimes translucent; camphor odor if gently warmed; prone to nitrate degradation; common from 1870s–1930s.
  • Casein/Galalith: Milk‑based; takes rich dyes; slightly warm feel; a faint milky odor when damp; early 20th century.
  • Phenolic resins (Bakelite/Catalin): Dense, warm to touch; often marbled; 1930s–1940s. Phenolic buttons are generally later than the true “antique” era but appear in collectible sets.

Non‑destructive checks: a UV flashlight can help differentiate some plastics (celluloid often blue‑white fluorescence; casein often weak/dull), while Simichrome polish yields a yellow residue on phenolics (test sparingly, in an inconspicuous area). Avoid hot needle tests; they damage and can ignite celluloid.

Backmarks, Quality Lines, and What They Date

Lettering and symbols on the back can be powerful if you know how to read them.

• Quality marks

  • “TREBLE GILT,” “EXTRA RICH,” “BEST QUALITY,” and “RICH ORANGE COLOUR” are typical marketing marks on gilt brass from the late 18th to mid‑19th century.
  • Raised rings of dots or concentric circles often appear around backmarks on mid‑19th‑century British‑made buttons.

• Makers and cities

  • British: Firms such as Firmin, Jennens & Co., and Smith & Wright appear on uniform and livery buttons. The exact wording can help bracket dates as company names changed over time.
  • American: Scovill (Waterbury), Horstmann (Philadelphia), and Waterbury Button Company are frequent; early backs can show patent dates or city names.

• Patents and registrations

  • British “Rd” (Registered Design) numbers begin in 1884 and help narrow late‑Victorian to Edwardian dates.
  • US patent dates or numbers on backs indicate post‑patent production and can point to a narrow window.

• Military and livery specifics

  • Royal cyphers (e.g., “VR” for Victoria, “G R” for George) and crown shapes can firmly place British uniform buttons within reign periods.
  • US Great Seal buttons with 13 stars above the eagle are post‑1902 general service; earlier US eagles vary by period and branch.

Always corroborate backmarks with construction and material. Backmarks were sometimes reused, and buttons were re‑backed in service.

Style Clues: Motifs, Eras, and What To Expect

Iconography and ornament track fashion and culture.

• Georgian to Regency (late 18th–early 19th)

  • Bright‑cut steel, neoclassical motifs, dandy waistcoat sets in metal, glass, and enamel.
  • Large decorative sets for waistcoats; small shanks and precise hand engraving.

• Early–Mid Victorian (1837–1870)

  • Gilt pictorials (hunting, animals, allegorical scenes), black glass and gutta‑percha for mourning.
  • Japanned backs, embossed floral borders; matching sets for coats/waistcoats/cuffs.

• Late Victorian to Aesthetic/Art Nouveau (1870–1910)

  • Naturalistic flora and fauna, sinuous lines, scenic enamel and Satsuma, livery crests for servants’ livery.
  • Czech pressed glass with gilt highlighting; layered MOP with inlaid metals.

• Edwardian to Art Deco (1901–1940)

  • Crisp geometrics, contrasting materials (metal + enamel, glass + celluloid), novelty pictorials.
  • Early plastics join in; sew‑through MOP shirt buttons dominate everyday wear.

Context matters: a single oversized pictorial often served as the main coat button with plainer mates, while waistcoats used smaller matching sets. Fancy studio buttons (artist‑made one‑offs) appear from late 19th century onward and may defy factory norms.

Size, Sets, and Use Context

Button size signals the garment and sometimes the era. The clothing trade typically measures in lignes (L).

• 1 ligne = 1/40 inch ≈ 0.635 mm.
• Common ranges (approximate):
  • Shirt: 12–16L (7.6–10.2 mm)
  • Waistcoat/vest: 18–24L (11.4–15.2 mm)
  • Cuff: 14–18L (8.9–11.4 mm)
  • Coat: 28–40L (17.8–25.4 mm), with overcoats often larger

A complete original set (e.g., six coat + six vest + six cuff) is significantly more valuable than singles, provided materials and patina match. Look for consistent oxidation, identical backmarks, and uniform thread impressions.

Authentication, Condition, Care, and Value

• Authenticity checks

  • Solder and wear: Old solder tends to be darker, with flux residues; bright, glassy solder on a heavily worn front can signal a re‑shank or repair.
  • Tooling marks: Hand engraving shows slight irregularities; machine engraving is uniform.
  • Patina: Natural gilding mellowing, age‑appropriate tarnish on silver, and honest surface wear are good signs. Overly bright polishing can obscure age.

• Condition issues

  • Verdigris (copper salts): Powdery green; isolate affected buttons to prevent spread. Dry mechanical cleaning with a wooden pick and gentle conservation wax can stabilize; avoid acids.
  • Rust on steel/iron: Keep dry; use micro‑abrasive erasers sparingly; seal with museum wax if appropriate.
  • Enamel chips, glass cracks, shell delamination: Note severity; hairline stable cracks are common in old glass/ceramics.

• Early plastic hazards

  • Celluloid can off‑gas nitric acids that corrode nearby metals; store separately in ventilated, cool conditions.
  • Avoid heat and sunlight for all early plastics; never use hot water.

• Cleaning and storage

  • Minimal cleaning is best. Dust with a soft brush; avoid harsh polishes that remove gilding.
  • Store on acid‑free cards or in inert trays; cushion shanks to prevent bending; preserve original sewing threads when present.
  • Document provenance, backmarks, sizes, and set composition — crucial for appraisal.

• Value drivers

  • Rarity and demand (e.g., specific regiments, famous makers, unusual pictorials).
  • Material and technique (mercury‑gilt, fine enamel, Satsuma, exceptional MOP inlay).
  • Completeness and condition (original shanks, matched sets, intact enamel).

Quick Identification Checklist

• What is the construction?
  • One‑piece die‑struck, two‑/three‑piece shell, cast, sewn‑through, or self‑shank.
• What material(s)?
  • Metal (which alloy), glass, enamel, porcelain, MOP, bone/horn/ivory/tagua, early plastic/rubber.
• What does the back say?
  • Maker, city, quality mark, patent/registration numbers, military/livery specifics.
• Which motifs and style cues?
  • Neoclassical, Victorian pictorial, Art Nouveau flora, Art Deco geometric, mourning black.
• How big is it (in lignes)?
  • Cross‑check size against likely garment type; compare with set mates.
• Are wear and patina consistent?
  • Solder color, oxidation, thread impressions, edge wear appropriate to age.
• Red flags for repros or alterations?
  • Sharp modern solder, artificially aged surfaces, mismatched backs in a “set,” plastic masquerading as horn/bone.
• Storage and safety considerations?
  • Isolate celluloid; mitigate verdigris; avoid over‑cleaning.

Short FAQ

Q: How can I quickly tell bone from ivory and vegetable ivory? A: Bone shows tiny dark pores under magnification and a fibrous grain; ivory displays cross‑hatch Schreger lines on cut surfaces; vegetable ivory (tagua) has a fine, even texture with subtle radiating grain and lacks pores.

Q: My gilt brass button reads “TREBLE GILT.” Does that guarantee early 1800s? A: It strongly suggests early–mid 19th century, but confirm with construction (one‑/two‑piece), shank type, and overall style. Quality marks were used across decades and occasionally echoed later.

Q: Are Satsuma buttons always Meiji‑period? A: Many are late 19th to early 20th century (Meiji into Taishō). Look for fine crackle glaze, gilt outlining, hand‑painted scenes, and metal rims/backs. Infer date from painting style, mount quality, and wear.

Q: What’s the safest way to test for Bakelite? A: Use a tiny amount of Simichrome on an inconspicuous spot; a yellow residue suggests phenolic resin. Clean immediately after. Avoid heat or hot needle tests, especially with celluloid present.

Q: Do matching button sets significantly increase value? A: Yes. Original, complete sets with consistent backmarks, sizes, and patina bring a premium over singles, particularly for military, livery, and high‑art pictorial sets.

With practice, you’ll read construction at a glance, recognize materials by feel and look, and let backmarks and motifs refine your dating. Combine these in a written record for each piece or set, and you’ll unlock the rich provenance woven into even the smallest antiques.