Articles

Table of Contents
Plain Jane China Buttons
Reproduction Chinas
Art Nouveau & Buttons
Damascene Buttons
Cleaning Buttons

First, the history: Step back in time to the 1830s. It’s a tremendously fascinating time, a time of intense change, because the industrial revolution had taken hold, and this generation of women, especially, were seeing a great deal of change. Women were working outside the home, and that meant that women were dressing themselves, rather than having a maid dress them. So the clothing women wore had to be easier to put on and take off... with buttons in the front. And those buttons had to complement the dress.

Enter Richard Prosser. He saw a need for inexpensive buttons for women’s clothing, and he devised a new way of making china buttons. Rather than using a sloppy wet solution, Prosser took DRY clay, compacted it in a mold, then fired it. No mess, and fewer rejects. Prosser received his patent in England in 1840. His brother Thomas received the American patent in 1841.

In short order, china buttons were being made quickly and cheaply, and variations such as calico buttons and ginghams, as well, taking their designs from the popular cotton fabrics of the day.

A similar button was also made by the Bapterosses firm in France from the 1860s, but these were made using a different process, which used wet clay... in fact, the moisture of the buttons came from milk!

Now, about the buttons themselves: As with all buttons, the designer must decide how the button should be sewn on. Should there be an applied shank, a self shank, two holes, three holes or four? And to all of these questions, the answer is YES.

First, the applied metal shanks, with a metal plate visible on the back: These are known as "Gaiter" buttons, with no fewer than nine different body shapes. While these buttons were, at a time, ubiquitous, finding one of each can be a real chore today.

In addition to the nine shapes, which came in a variety of solid colors, there were also various designs available on the buttons, giving the look of a bull’s eye. There are 15 different styles of bull’s eyes. There were also "spatter pattern" designs on these gaiters, so there is really a huge range of styles. There are also hobnail designs as gaiter buttons, again, with four recognized color patterns.

There are also pinshank china buttons, described as shoe buttons, smock buttons, and even, a few rare calico pinshanks.

Let’s look at what are commonly known as "bird cage" shanks. These are china four-way shanks that are inserted into the dome of the china button. There are four shapes, with six different color patterns. (For those keeping track, that 24 various shape/pattern variations, and there are several colors, including green, orange, brown, blue and white. That’s over a hundred possible combinations.)

There are also two-way inserted shanks, similar in design to the bird cages. There are 20 different patterns in these buttons, most are found in many colors, though some only in black or white.

There are also buttons with one hole on top, two on the bottom. These are known as whistles, and the variety in whistles alone is really interesting. There are 20 body shapes, and 10 recognized designs.

The final odd body shape found, to the best of my knowledge, only in china buttons, is the igloo. It’s an odd looking button, and usually sells for $75 - $100.

Now, to sew throughs: First, Stencils and Calicoes, because these are by far the most frequently discussed china buttons.

Calicoes were made by taking the unfired but formed buttons and laying a transfer pattern over them. They were then fired in a kiln, and the color "baked" on. There are more than 300 different recognized patterns. There are likely more unlisted designs. Calicoes were made on seven different body shapes, some commonly called "inkwells" and "tires" and others, "saucers" because of how they appear from the side. The most rare is the pinshank calicoes Steve own. Most common is one of the four-hole sew-through bodies. Two and three hole calicoes are rare. Colors include red, green, black, at least three shade of blue, brown, purple, pink, and rarely, orange, rarer still, gold. They can be rimmed in metal, which is fairly unusual. Also, calico jewels are found set in metal, but these are not properly catalogued with china buttons; rather, they are items set in metal.

Calico buttons range in size from diminutive to medium, but the most common sizes are either 7/16ths inch or 5/8ths inch.

Stencils are somewhat different, they are always two holes, and while most were applied using a stencil, some were drawn freehand. The body type is always the same: A slightly sloping top, flat back, and two holes. The 13 colors are as varied as the calicoes. There are 30 fairly common designs, and 32 more that have been found and catalogued, though they are considered to be just about one-of-a-kind buttons. One variation is found, and that is the square shape.

There are also bands, which are arguably stencils. One pattern that LOOKS as though it should be a stencil, has two partial bands on the sides. It’s not considered a true stencil because there are small indentations in the top of the button that are painted. Since the body shape is not smooth, they don’t fit in the stencil category.

Finally, with regard to patterns, there are also Gingham buttons, Chinas which had two layers of color put on them in a sort of weaving pattern, like the gingham check fabrics that were also common in the 1860s and thereabouts.

OK, so those are the colorful versions. But that’s not it with china buttons. In white and off white, two and four hole buttons are fairly common. But most people don’t realize the body shapes, and the ranges of size and colors. Those buttons which can initially be dismissed because they were such plain Janes are really very different. They range in size from diminutive to medium, and include shell designs, hobnails, and radiating lines.

For two hole buttons, there are your basic, simple, underwear, or rather, "Panty-waist" buttons. Ho hum, right?

Well, wait! There are also five variations of two-hole ringers, 11 hollow eye shapes, 20 "saucer like" buttons, nine variations with radiating rims, four different "Mounds" and fisheyes, (which can even be square) and three different pattern eyes. Again, all of these come in different colors.

There are ten various hobnail patterns with three holes! And then, of course, they are available with four holes, too.

When it comes to four-hole buttons, the variety is again extensive.When one begins to sort china buttons, it can quickly become a fascinating game.

The good news it that while Calicoes (usually about $2 - $3) can run up to $6 for a small but unusual shaped button, that same shaped button in a solid color is probably only 50 cents. Medium whistles are more elusive, and but the small simple "beehives" are usually only about a dollar or two. The point here is that they are fairly inexpensive, yet fun to work with. Stencils run about $1 - $2 each or so, though some of the patterns are quite elusive and the hunt is on.

Some dealers even sell "Project Cards" for stencils. They have seven different designs that came in six different colors, and you fill in the buttons as you find them, filling up a grid.

But it’s just as easy, with the help of the NBS book, Guidelines for Collecting China Buttons to design trays, looking for the various china buttons that are out there. After all, variety is the spice of life!

A caveat, about collecting china buttons: PLEASE BE CAREFUL OUT THERE! Reproductions are currently being made and marketed of BOTH the Stencil buttons and the Calicoes.

The National Button Society sells the ultimate china collector’s handbook. Contact your local club, or the NBS directly -- it’s about $9, and WELL WORTH the investment!

Reproduction Chinas... by Jody Behrbaum

Below are comparisons of reproduction stencils and calicoes with their antique counterparts. The new calicoes are easy to spot, however, the new stencils are remarkably like the older ones.

Stencils

In this particular package, there are three patterns (3, 4, and 24) done in three colors (black, orange and blue), in three sizes. All of the buttons have fish eyes and have ivory bodies. All of the pattern/body color combinations are recorded in the Guidelines for Collecting China Buttons as belonging to the older stencils. The backs of the buttons are consistent with those seen on older stencils - either a flat back with the characteristic china pebbly surface, or a slightly raised ring just outside of the button holes.

These are STENCIL buttons, old and new.

So, how does one tell a new stencil from an old stencil? Well, it wasn't easy for me to find many distinguishing characteristics. The most tell-tale sign was that on the larger buttons, if the pattern is done in black, the black appears chalky or powdery. On the smaller buttons, however, the black is bright and clear. One of the buttons' eyes are much smaller in diameter than is usual for stencils, although the other new buttons had "normal" eyes. There are no backmarks. In general, when compared to the older stencils, the new buttons look more like exactly what they are intended to be -- craft buttons, although individually, some of the new stencils look remarkably like the old.

These are CALICO buttons, old and new.

I experimented a little to see if I could make the new stencils look even more like the old stencils (especially the chalky-looking black stencils). I painted the surface of the stencils with the following mediums: clear nail polish, high gloss glaze, and gloss acrylic varnish. All three made the black stencils look much brighter. The nail polish resulted in a much glossier button than the glaze and the varnish, but produced an even finish. The glaze and the varnish were less glossy (perhaps truer to the finish of older stencils), but care was required to not leave brush strokes. I also tried rubbing oil on another button, but too much oil was needed to make the stencil appear bright.

Calicoes

The main differences between the old and new calicoes are: 1) the new calico bodies are not as bright-white as the older ones, and 2) each reproduction is backmarked with an "L". Also, when compared to older calicoes, the new buttons have more of a handmade look to them.

Chile-n-Crackers also make piecrust (9/16") and plain white chinas (3/8", 5/8", and 7/8") in both bone and winter white. Like the calicoes, these are backmarked.

References:

Ruth Lamm, Beatrice and Lester Lorah, and Helen W. Schuler

Guideline for Collecting China Buttons, The National Button Society, 1970

Dress It Up (a Jesse James Company), Bethlehem, PA

One package of Glass-18 buttons

Chile-n-Crackers, P.O. Box 2865, Carson City, NV 89702

Calico buttons

A Short History of Art Nouveau Buttons

Prior to 1890 changes in artistic styles did not take place frequently. Technology began to make many advances just before WWI and the effects were two-fold:

1. Artist and craftsmen became concerned that the beauty and art of handcrafted pieces would be lost in mass production. This fear greatly influenced William Morris into organizing the Arts & Craft movement in the 1850's, which in part has been credited with giving Art Nouveau it's beginnings.

2. After the Paris Exposition of 1900, where Art Nouveau reached it's peak of popularity, new technology exhibited at this fair would be responsible for the increasingly rapid changes in style that would from then on take place in our society. These changes now occur almost every 20 years instead of every half century or longer.

The term Art Nouveau, which has finally been accepted in most countries, derives from Samuel Bing's shop, Maison de l'Art Nouveau, at 22 rue de Provence in Paris, which opened in December, 1895. He commissioned a variety of work from many of the artist credited with influencing this new style. The late 19th Century was a period of boldness which not only tolerated new ideas but was eager for novelty and its sensations. The aim of the artist at that time was to suggest a felt reality rather than just describe observed reality. During this short-lived period, 1880-1920 (1890-1910 for purist), the artists were greatly influenced by the Oriental, Gothic, Celtic & Rococo periods, which lent an overall feeling of lightness to their designs, giving them an ethereal, fragile quality.

Nature was an inspiration to the Art Nouveau artist, many of whom were students of botany. Designs never used flowers of the common garden variety, but employed the exotic type with long stems and exquisite fragile blossoms. The unusual rather than the ordinary was a rule of thumb. The tendril of the vine was more interesting than the leaves, the bud more intriguing than the blossom. The swan, a symbol of pride capable of gliding with utmost grace in a flow of constant movement, surpassed the peacock in popularity.

Women with their long flowing hair dominated the world of Art Nouveau. Loie Fuller's highly popular serpentine dances during this period, "The Butterfly", "The Orchid", and "The Lily", were performed using veils to express the same erotic function as the flowing tresses of the Art Nouveau female. Sarah Bernhardt was well established as the century's outstanding actress when the Art Nouveau movement crept into Europe. She became the symbol of feminine grace to artists and craftsmen such as Rene Lalique and Alphonse Mucha. From the age of fifty-six to sixty-nine Sarah played the part of the young Duc de Reichstadt in L'Aiglon. There were two buttons made with this play in mind. The first was a two-piece tin of medium size. The head was in a circle about the size of a dime in a wide border of curling leaves. The other was a stamped one-piece brass, the head encircled by the wings of an eagle, the button cut out around the head of the bird. There are at least two buttons showing her in the role of the Byzantine empress Theodora and also a few buttons of the curly haired Sarah as herself.

There are a number of the reasons you'll find so few Art Nouveau buttons, especially when compared to most other topics, etc. I've already mentioned the very important fact that this period only lasted a little over 20 years. Many of the Art Nouveau artists worked in more than one media (see Ref. List of Artists), with jewelry and basic surroundings such as furniture and architecture being very affected. Clothing never reflected the new look of this period. The Art Nouveau style was a little too avant garde for the masses and because the artists adhered to the principal of hand craftsmanship, their creations weren't very affordable. The ability to mass produce everyday products increased tremendously after WWI, leaving the craftsmen in the dust. After the war, society was ready for a fresh look this left the door open for the Art Deco artists with their modern cubism approach.

General Identification Guide for Art Nouveau Buttons

1. Art Nouveau designs used the following two styles of lines:
   1. A flowing, curving line which bends back on itself. (Think of curling smoke, tapered flames, swaying, etc., sometimes referred to as a whiplash effect.)
   2. Thin, straight linear lines that are long and eventually join.

2. Three of the more prevalent pictorial themes to look for are:
   1. The female form, especially flowing hair which often becomes part of another area in the design.
   2. Plant life of all types. Some favorites were: floral stems, lilies, orchids, irises, roses, sunflowers, thistles and honesty.
   3. Animal life - The swan & the peacock, especially it's feathers, are most acquainted with Art Nouveau. Others are the butterfly, dragonfly, and snake.

3. Materials common to the Art Nouveau style are:
   1. Glass
   2. Tin - 2 piece construction
   3. Brass - 1 and 2-piece construction
   4. Silver with peacock blue enamel (used a lot with jewelry, but also by Liberty house for buttons.)

A List of Styles Which Influenced the Art Nouveau Artist

• Oriental characteristics: Absence of central perspective, simplified natural form, & linear rhythm expressing contours
• Gothic characteristics: Curvilinear ornament with flame-like and leaf-like traceries
• Celtic characteristics: Linear design of interlace and coiled spirals
• Rococo characteristics: Flowing space, asymmetrical ornaments and gracefulness

Partial Reference List of Art Nouveau Artists

A List of Books That Picture Art Nouveau Style Buttons

L. Baker

Art Nouveau & Art Deco Jewelry, (Plates 40 & 48)

E. Hughes & M. Lester

Big Book of Buttons, (Pgs. 537, 539-1 through 21)

L. Couse & M. Maple

Button Classics, (Plates 10, 15, 31, 34, 68, 74)

D. Epstein & M. Safro

Buttons, (Pgs. 66, 80, 81, 84, 98, 128-131, 148, 149)

L. Albert & J. Adams

The Button Sampler, (Pgs. 47, 71, 92, 116)

Bibliography:

Geoffrey Warren

All Color Book of Art Nouveau, Crown Publishers, New York, 1974

Lillian Baker

Art Nouveau & Art Deco Jewelry, Collector Books, Kentucky, 1981

Anonymous

Buttons, Art Nouveau, Michigan State Bulletin, Spring 1967

Martin Battersby

The World of Art Nouveau, Arlington Books, London, 1968

Photos courtesy of Nikki Deal and Lou Yeargain.

It was sometime during these early days that the art of Damaskeening entered Japan through Korea. The Japanese craftsmen became adept at the art and the demand for such work continually grew. Feudal Warriors popularized the craft. No self-respecting warrior would venture forth without their beautifully decorated helmets, knives and decorated sword handles (it was not popular to decorate the blades of weapons in Japan). By the turn of the 19th Century, Japan had become the production and export center of Damascene articles. Popular items of export included cigarette boxes, cigarette cases, lighters and trays, brooches, vases, jewelry and of course, buttons. These articles became popular throughout the world.

Photo courtesy of Monica Walker.

Damascening is principally a decorative art, as the article to be engraved comes to the craftsman in its final form except for the embellishment. Steel and bronze are usually used as the base for the Damascene work, although items are found in 18 - 24K gold and sterling silver. To complete the intricate art, the Damascener uses fine chisels, tiny deer horn hammers, mallets and various gauges of silver or gold thread and tiny balls of gold. The artist first takes a chisel to trace the surface the design which is to be etched into the metal. The outlines are cut into the surface raising a slight edge. The gold and silver threads are then hammered into the etched groves and the burred edges are smoothed to hold the thread firmly in its place.

Photo courtesy of Barb Ormand.

The item is then placed into a specially built cabinet and corrosion is induced by the use of chemicals. After the article is removed from the chemical bath, it is washed in hot soda water to remove the corrosion (rust). When it is dry, it is washed in salt water and fired in a high temperature fire. For five to seven days, the items are alternately washed and baked as many as eight or nine times per day until all the rust on the metal has been removed. To prepare the article for finishing, the clean surface is then caked with thick red clay and baked again over a hot fire. This process is repeated from 50 to 100 times until the article is finished. A single Damascene article can take seven or more days to produce.

Photo courtesy of Nadeen Forrest.

The finishing step covers the article with powdered charcoal and oil and it is baked once again in the hot fire. This process continues for up to 20 times to provide the desired finish. After the final baking, a small wooden tool is used to scrape off the excess charcoal. The finished product emerges with the base metal showing a rich, deep luster; the fine lines of the gold or silver thread remain as the permanent design. The quality of the article can be best appraised by the comparison to other Damascene articles. The true craftsman, working patiently with fine materials, naturally produces a better article marked by the richness and depth of the patina. This ancient process continues after more than 2000 years as Damascene articles continue to be produced for todays market.

Photo courtesy of Nadeen Forrest.

Thanks Keith! - ed.

Safety First

When prying pieces apart, using power tools(dremel), or using chemical cleaners -- follow these safety tips:

1. Wear protective eyewear.
2. Tie back long hair that might get wound around a fast spinning electric tool.
3. Be careful when wearing loose fitting clothes that might get caught in a power tool.

General Cleaning Tips -- READ FIRST

1. IMPORTANT: Try most cleaning methods on worthless buttons before using them on your good ones.
2. If a button is made of more than one material, be careful not to harm one part while cleaning the other.
3. Using a rock tumbler for cleaning metal, glass, celluloid: Use walnut shell media, a small amount of polish and let run for 12 to 24 hours. It gives a clean look but retains most of the patina because it only really shines the raised parts of the buttons.
4. Use 3-M Blue painters' tape to protect one part of a button while cleaning another part. Very useful when using your Dremel or electric eraser. Use tiny bits of tape and carefully cover the parts to be protected. Other brands tend to leave an adhesive residue, 3-M Blue painters' tape doesn't.
5. "Button Cleaning Box": Fit a piece of carpet into the bottom of a box (e.g. a small shoe box). Visually divide the carpet piece into three sections. Apply some polish to one section (Flitz or Semichrome or such), and drag the button through the polish, over the carpet nap. Hold button with a small pliers; or use a piece of telephone wire through the shank, so you have something to hold on to. Pull the button through the polish; then move to another section of the carpet and pull it through to clean off the polish and the dirt. The third part of the carpet can be used for a clean final polish. May not be good if your button has a painted surface or small bits or prongs that could catch in the carpet nap and be damaged.

Enamel Buttons

Wipe with a damp cloth, or use a mild ammonia cleaner for very dirty buttons. The metal areas could polished with a jewelers' cloth.

Fabric Buttons

Use a cleaning fluid in a small jar (baby food jar). Drop buttons in and stir for a few minutes. Remove and put them on a towel to dry.

Most old fabric and thread buttons are very fragile, so no rubbing or brushing allowed.

Glass and Ceramic Buttons

Most glass and ceramic buttons can be washed like other china, glassware or pottery. Exceptions would be if the button included other materials, such as: cold paint (paint that was not fired on), rhinestones, glued parts, etc..

Horn, Tortoise and Shell/Pearl Buttons

1. Mineral oil, lanolin, lemon oil or baby oil are good for cleaning horn, tortoise shell and pearl (and/or any natural material). Rub and buff with a soft cloth; use a soft tooth brush for crevices. Do NOT use olive oil, it may turn rancid.
2. Use FIT Vegetable Rinse for cleaning shell/pearls.
3. Use a dab of WD-40 on a Q-tip to bring the shine back to dull shell.

Metal Buttons

1. Rub with a jewelry polishing cloth (e.g. Sunshine Cloth).
2. Rub with a soft cloth using a little a gentle metal polish. Use a soft toothbrush to get into grooves and around decorative trim. Don't use the polishes or liquids on buttons that have mirror-backs or layers that will trap the cleaning compound.
3. Verdigris (green gunk) usually destroys the finish on metal buttons. Remove it with vinegar or catsup. You may have to let it sit a while. Buff damaged portion with "rub & buff" in the color you need (this won't restore the finish, but will help with the looks of the button); removing the verdigris will keep it from spreading.
4. Use a dremel tool to clean harder areas and polish. Remove rust as it will get worse.
5. Use a red pencil eraser to lightly shine up brass. Use a soft eraser such as Pink Pearl to remove rust, etc. Other harder erasers can leave marks. An electric eraser can quickly damage the fragile button finishes, so if you use one, be very careful.
6. Cut steels -- first try an ink eraser rubbed briskly over the steel to remove rust. For heavier rust a little TARNEX on a q-tip will take off most of the rust. Very fine grade steel wool can also be used.
7. Picture buttons and some uniform buttons were often sprayed with a brown paint -- be careful not to remove this finish when cleaning.
8. Pencil lead will help to remove small amounts of rust from steel.
9. Many old metal buttons have been tinted. Be very careful that you don't "clean" off the tint.

Plastic Buttons

Bakelite and other hard plastics: These usually respond well to a small amount of metal polish and a gentle buffing. Celluloid (cellulose nitrate) clean with a damp cloth; if stained, gently try one of the metal polishes(will be damaged by heat. Celluloid is often confused with cellulose acetate which will be damaged by water.

Rhinestone Buttons -- Foil-Backed

Hold the button UPSIDE DOWN, and brush the rhinestones with an old toothbrush dipped in Mr. Clean or other ammonia-based cleaner, then wipe with a damp cloth. Dry immediately with a hair dryer. This method avoids the problems of allowing the cleaning solution to seep down behind the stones and tarnish the foil backing, or unglue the stones.

Rubber Buttons

Usually a damp cloth used with a damp toothbrush to get into the crevices is all that is needed.

Shell/Pearl Buttons

See Horn Buttons.

Wooden Buttons

Clean them with furniture polish or mineral oil.

Cleaning Buttons for the Adventurous!

Disassemble metal buttons for cleaning. Use a thin blade to carefully pry the front and back pieces apart. The first time around, just loosen the seam; then the second time pull the top piece up far enough to release the back and shank. Use the appropriate cleaner to clean and polish the button parts. Then put the pieces back together using the flat part of a knife blade to push back down the edges you had pried open. Do this gradually in about 4 trips around the button.

Cleaning Products and Where to Find Them

• Metal Polishes: Flitz, Simichrome, Topbrite, Brasso, Rolite, Tarnex -- found in hardware, motorcycle, discount, and grocery stores.
• FIT Vegetable Rinse -- found in grocery stores.
• BlueMagic -- contains ammonia, but no abrasives; leaves no residue in crevices.
• Murphy's Oil Liquid Soap -- found in grocery stores.
• Scrubbing Bubbles -- found in grocery stores.
• 3-M Blue painters' tape -- found in hardware and paint stores.
• Silver polishing cloth (jeweler's cloth) -- found in hardware stores, china and silver departments of large department stores, and jewelry supply companies.