National Button Society Classification for 2008 Competition

DIVISIONS I, III and IX

SECTION 1 – CELLULOID

1- 0 Celluloid assorted. Refer to May 1998 NBS Bulletin. Since celluloid

buttons were manufactured both before and after 1918, awards for assorted

celluloid are most suitable in Div. IX.

1- 3 Pressed designs assorted. Sheet or wafer celluloid with a press-molded

surface design.

1- 3.1 Ivoroid. Div. I. Sheet celluloid pressed, tinted and rubbed down to

imitate carved ivory. Some have cut out designs attached in places to a

celluloid ring hidden by a metal rim. Nearly all ivoroids have metal rims and

backs.

1- 3.2 One-piece thirties. Div. III. Wafers with embossed (pressed) designs

that are often pictorial, usually depicting sports, animals, transportation,

highlanders, etc. The field surrounding the design may be textured or smooth.

The design may or may not show on the back depending on the thickness of the

wafer. They may be two-hole sew-through or have an applied celluloid shank.

Shapes may be round, square, modified square, oval or modified triangle.

Colors are white, white design on a colored field, or different shades of the

same color; commonly a shiny design on a darker, duller field.

1- 4 Sheet assorted. Buttons made from a thin sheet of celluloid 1) mounted

in metal or 2) drawn like fabric over a button frame. Celluloid sheet is sometimes

press-molded into shapes and designs.

1- 4.1 Background. Refer to page 59.

1- 4.2 Bubble top. Similar to tight tops except there is discernable air space

under the sheet of celluloid. The bubble may be a simple dome or molded into

a more complex form. The celluloid may be opaque, transparent, or a

combination of the two. The whole button may be made of celluloid or the

back may be metal, paper, etc. Glows have a completely or partly transparent

bubble that reveals a base of foil, iridescent celluloid or other shiny material.

1- 4.3 Face center. Div. I. A metal back is faced or centered with a flat sheet

of celluloid and rimmed by a plain or fancy metal border. The rim may be very

ornate as long as it remains strictly a border. May be sew through. The

celluloid sheet may be one or more colors, shaded, mottled or swirled without

other designs (conventional, pictorial, or pattern).

1- 4.4 Perforate. Div. I. Includes stick-ups and flats. Stick-ups consist of a

perforated celluloid top that fits over protruding design piece(s) of metal, glass,

celluloid, etc. When there is a metal rim, it is a separate piece; when rimless,

the celluloid sheet folds down over the edge to hold parts together. Flats have

a perforated celluloid top backed by a flat piece of fabric, paper, celluloid,

metal or foil.

1- 4.5 Shield. A thin sheet of transparent celluloid used to shield something

fragile, e.g., fabric, lithographs or habitat material. Celluloid shield buttons

may be used in this class as well as in the class of the protected material, e.g.,

a paper lithograph.

1- 4.6 Tight top. A solid sheet of celluloid drawn tightly and smoothly over the

button frame. Usually, although not always, a metal band clamps the celluloid

to the back. The most desirable are patterned.

1- 5 Specific forms. Includes molded object/realistic shapes; rods, strands or

rings used to make knots and bows; and openwork/lace.

1- 6 Wafers assorted. Div. III. A measurably thick slab of celluloid forms the

base of the button. A singleton is made from a single slab of celluloid. Wafers

may be flat, a bit convex or concave, have a rim, or be used as a foundation for

dimensional embellishment of either celluloid or other material, i.e., hors

d’oeuvres.

1- 6.1 Two or more layers. Laminated or built-up wafers created by layering

two or more slices of celluloid. These are often cut to show the different color

layers.

1- 7 Unlisted. Ivorine is a term used to describe celluloid made to imitate the

look of smooth ivory. Most are wafers, but some tight tops are found. These

buttons have a smooth surface, sometimes showing a grain, and are usually

incised or engraved with pigment added. They may have metal, metal

escutcheons or lithograph centers as embellishment.

SECTION 2 - CERAMICS

2- 0 Ceramics assorted. Ceramic is a general descriptive term that includes a

wide range of fired natural clay bodies. China buttons are accepted both here

(unlisted) and in Sec. 3 (China).

2- 1 Earthenware assorted. All types of porous clay (pottery), glazed and/or

unglazed. Clay may be white, cream, buff, yellow or brown to dark red (terracotta).

Examples are Satsuma, Ruskin, Barum, Norwalk, Delft, Zia, etc.

2- 2 Porcelain assorted. Includes all white, nonporous hard paste and opaque

soft paste ceramic ware. Examples are Kutani, Arita, Meissen, etc.

2- 3 Stoneware. Hard, non-porous clay, glazed or unglazed (bisque). Includes

jasperware and Wedgwood.

2- 4 Back marks. Includes both stamped and transferred types.

2- 5 Decorative finishes (DF). Includes hand painted design, transfer (with or

without additional paint embellishment), decorative glaze, etc. Refer to page 73.

SECTION 3 - CHINA

NBS handbook, The Guidelines for Collecting China Buttons, categorizes all

known china buttons at the time of publication and does not attempt to distinguish

between Div. I and Div. III buttons. The decorated fisheye "C" on page 149 and

the Czechoslovakian flat tops are acceptable only in Divs. III and IX. Since

stencils were made on both sides of 1918, they have been accepted in Div. I.

Refer to page 78, Stencil. China awards are best written in Div. IX.

3- 1.4 Two-hole sew-through. Igloos are included here since the hump on top

of the button is not a shank but simply forms a tunnel for the thread.

SECTION 4 - ENAMELS

4- 0 Enamels assorted. Enamel (not to be confused with paint) is a decorative

finish (DF) of glass fired onto metal. In this section the enamel is the focus.

Buttons with metal as the focus with enamel finish or borders are appropriate in

Secs. 10, (Metals) and/or 23, (Borders), but not in Sec. 4. Likewise, buttons

appropriate in Sec. 4 are not acceptable in Secs. 10 and/or 23.

4- 1 Construction assorted. Refers to the basic enameling technique(s) used

to create the overall design of the button. Specialized examples of these

techniques may be used under the appropriate major class. For example, painted

Limoges or pâte go under Emaux peints, assorted.

4- 1.1 Basse-taille. Transparent enamel is applied over base metal that has been

chased, engraved or engine-turned so the design in the metal is visible.

4- 1.2 Champleve. The metal base is grooved or hollowed out with a die or

stamp to accept the enamel. The stamping may be seen on the back of thinner

buttons. The surface designs combine metal with enamel. They are never

completely coated with enamel because the framework remains part of the

finished design. Opaque and transparent enamels are both used, often together.

Surfaces under transparent colors are sometimes stamped to resemble basse-taille.

4- 1.3 Cloisonné. Thin metal bands or wires of uniform thickness are placed

onto the metal surface of the button to create separate compartments (cloisons),

which are filled with enamel, fired and polished.

4- 1.4 Émaux peints assorted. Enamel is applied to the surface of the button

to form a base upon which the design is painted with fine brushes and then

fired. En grisaille. Div. I. Multiple layers of white enamel are applied to a

base of dark enamel (usually black but sometimes blue, green or tan). As coats

of enamel are added and fired, gray tones are created that act as shadows and

give a three dimensional, almost sculpted effect.

4- 1.4.1 Monochrome. Painted design utilizing shades of a single color and

white. These buttons appear “shaded” but are less dimensional than En

grisaille.

4- 1.4.2 Polychrome. A painted design incorporating more than two colors.

4- 1.5 Foil Techniques. Foil enclosures consist of pieces of metallic foil that

are laid in place and covered by transparent enamel. Paillons are small

precisely cut, shaped, (often realistic) foil enclosures. They may occur singly,

or in multiples.

4- 1.6 Gin-bari. A style of Japanese cloisonné which uses lightly tinted clear

enamel over a very thin sheet of detailed silver. The wires separating the

design elements may be present, or they may have been dissolved or hidden to

create “wireless” gin-bari.

4- 1.7 Plique-a-jour. A design made of soldered wires or openwork metal filled

with transparent, translucent or opaque enamel that is not backed by metal. It

resembles stained glass.

4- 2.1 Enamel encrustations. Div. I. Round or oblong bead-like dots of

opaque or transparent enamel that rise above the surface are applied in colors

such as turquoise, red, white, etc. Pierreries consist of tiny foil cups filled

with enamel to resemble sparkling jewels.

4- 2.2 Matte finish. The enamel is immersed in acid resulting in a dull, rather

than a glossy, finish.

4- 2.3 Transfer. Transfer designs or photographic processes are applied to a

smooth enamel surface.

4- 4 Pierced. Openings are surrounded by enamel. An enamel button with a

border that is pierced, but not enameled, does not qualify here.

4- 6 Unlisted. Includes: 1) background (the enamel is used exclusively as a

background to the main design), 2) combined techniques, 3) mounted in metal,

4) plaquettes (an enameled metal piece of any shape mounted in/on metal), etc.

SECTION 5 - FABRICS/TEXTILES (revised effective 2008)

Fabric buttons are made of fibrous material(s) of animal, vegetable, or mineral

origin including, but not limited to, cotton, hair, linen, metallic thread, silk, wool,

and some synthetics. Also included in this class are fabric related buttons such

as passementeries, and those with a bead and/or sequin covering. A leather

covering, with or without fur, is not appropriate in this section.

Typically the fibers are worked, wound, or woven. Many fabric buttons utilize

more than one of these techniques, and so may be used in more than one class.

Some “named” buttons may include a variety of types. Dorset buttons made over

a ring are both wound and worked, and so may be used in both places.

Needle-woven buttons may be classed as Worked as well as Woven. Benefit of

the doubt should be observed. Although materials such as pine needles, rattan,

straw/grass, wire, and wood, etc. can be worked or woven, they are not included

here, but are appropriate in Sec. 14 (Wood) or 15 (unlisted Other Materials).

Fabrics/textiles may be mounted in/on metal, or over metal, fiber, bone, wood,

or plastic rings or molds. Some have non-rigid support, such as a tuft of linen or

cotton batting. Back types range from thread or canvas back to metal or plastic

backs/shanks. Plastic backs/molds that incorporate the shank are replacing some

metal backs in modern fabric buttons and are acceptable in this section. Fabrics

used as embellishment on, or mounted in/on, other materials such as vegetable

ivory, plastic or glass are not considered fabric buttons.

5- 1 Worked covers. Thread, cord, or other textile material worked with a

hook, needle, shuttle or finger, as in crochet, various types of needle-weaving,

tatting, knitting, lace, etc. Most, but not all, cover a rigid support (ring, mold,

etc.). Dorset types made over a ring, and Dorset high-tops (close web-like back

stitching over a fabric lined mold) may be used here. Although it may be laid

over a separate wound silk floss or woven fabric liner, the decorative work

functions as the cover of the button. Backs: worked (extension of top), wire loop

shank, pad back, sew through (as in Dorset rings), metal/plastic.

National Button Society Classification for 2008 Competition p.38

5- 1.1 Crochet. May be stretched over a mold, with or without a liner of wound

silk floss or thin fabric.

5- 2 Wound covers. Thread, silk twist or silk floss, braid, ribbon, cord, gimp,

etc., wound over a mold sometimes in complex patterns such as a star or square.

Covers may have added embellishments such as beads, but the body (and

sometimes the design) of the cover is created through the action of winding a

fibrous material. Backs: wound (not worked), thread, metal loop shank, or glued

onto plastic or leather (back piece for shank attachment only).

5- 2.1 Wound/worked combined. The wound cover is enhanced with

additional needle work. These integrated techniques (winding and working)

form the cover.

5- 3 Woven fabric covers. A machine or hand woven fabric cover may be

unadorned, enhanced by additional techniques such as painting or printing, or

embellished with metal, glass, beads, etc. Includes 1) woven designs such as

basket weave, damask, or brocade; woven pictures such as textilographs

(Stevensgraphs), Florentine silk 2) decorative techniques such as embroidery

(includes handmade linen Dorset types made with or without rigid support), petit

point; worked designs applied to the face of the woven cover 3) two or more

piece molded (including “fancy”) tops 4) machine made linen shirt buttons.

Backs: cased, overlapped/gathered, thread, pad, metal/plastic back, sew through.

5- 3.2 Two or more-piece molded tops. Two or more separately covered molds

combined to form a composite woven fabric button. The fabrics may be the

same or contrasting. May include additional other material embellishment

(OME).

5- 3.2.1 Fancy tops. Center raised mold is shaped. Glass center on single

mold fabric base does not qualify, and belongs in other material

embellishment (OME) class.

5- 4 Back types. Includes cased (front, as well as back, are covered in fabric),

overlapped/gathered (fabric cover is pleated or gathered and drawn tight in center

back), thread backs, pad backs, plastic or metal, sew-through, etc). Leather may

be used as a back (shank) attachment for a fabric or beaded button.

5- 5 Mounted in/on metal. Metal mounting is visible from the front of the

button. Does not include fabric “over” metal. Does not include fabric stretched

over a metal mold or ring.

5- 5.1 Background. Includes all fabric background materials, e.g., velvet, felt,

hair, etc, as well as cut out designs backed with fabric. Refer to page 59,

Backgrounds.

5- 6 Other material embellishment (OME). (clear & colored glass, metal,

rhinestones/paste, beads, etc.)

5- 7 Specific types. (Includes fabric frames). Fabric buttons which "frame" a

center made of another material, e.g., black glass, metal, etc.

5- 7.1 Beads/sequins. Beads (glass, metal, wood, bone, plastic, etc) form the

cover of the button. Fabric buttons with beads and/or sequins as other material

embellishment (OME) are appropriate here as well as in the Other material

embellishment (OME) class.

5- 7.2 Metallic thread. Div. I Includes 18th century Passementerie. Refer to

page 63. Characterized by metallic purl (gold or silver wrapped thread), may also

include beads, sequins, foil, seed pearls, pastes, mirrored glass, horn, pearl, etc.

worked over a linen or wound cover. Div. III. Metallic thread worked onto a

woven cover. May have additional other material embellishment (OME).

SECTION 6 - GLASS, BLACK

6- 0 Black glass assorted. Requires labeling as to class and mounting in

numerical order. Many classes in this section have a counterpart in Sec. 7 (clear

and colored glass). See Sec. 7 definitions where applicable. For more

information refer to the latest NBS Classification of Black Glass Buttons

Handbook. Black glass mounted in/on metal is not appropriate in this section,

but belongs in Sec. 8. However, black glass mounted in/on metal is allowed in

pictorial awards specialized to black glass. Radiants with black dabs are

applicable in Sec. 7. If a glass button appears black to the naked eye when placed

upside down on white paper, it is appropriate in this section. “Black amethyst"

glass is considered black.

6- 1 All black. (Matte/shiny/combination). Refers to the total absence of

embellishment or decorative finish (DF) except acid etched/frosted. Any amount

of acid etching/frosting is considered decorative finish (DF).

6- 3 Construction assorted. Includes button types formed with heat. This

differs from the Mechanical make-up class (components joined while in a cool

state). Includes rarities such as painted design under thin clear glass and

coralene.

6- 3.8 Moonglow. Div. III. Color(s) other than black (often striped) may be

seen in the glass between the base and the clear glass top layer, but the back

and/or self shank must appear black when placed against white paper.

6- 3.9 Overlay. Clear and/or colored glass fused to the surface of a black glass

body. Refer to page 42, Overlay.

6- 3.11 Tile type. Div. I. Design molded into the glass body, filled with either

molten glass or glass powder, then fused with heat. The entire surface is

ground smooth and level. The “tile” design may be all white, decorated with

transparent colored paint, or it may contain a mixture of colors.

6- 4 Decorative finishes assorted (DF). Refer to page 73. Along with those

listed below, this class includes the Div. III thick plastic-like finish with a

pearlized appearance often used in combination with metallic lusters.

6- 4.2 Lusters assorted. Includes all single and combinations of metallic

lusters, partially or fully covering the surface of the button. Luster filled

outline designs are not appropriate here. Luster must be on the black glass

body, not on other material embellishment (OME), i.e, watch crystal.

6- 4.2.3 Silver. Silver luster covered with a transparent colored wash is

appropriate here also.

6- 4.3 Paint. May or may not be fired onto the glass surface. Includes chemical

paint (dull gray color) and imitation wood.

6- 5 Mechanical make-up assorted. Refer to page 76.

6- 5.1 Frame. The body of the button forms a frame for a center of any material

other than black glass. Includes watch crystals set into black glass bases.

6- 5.2 Glass with Glass. Refer to page 43. Includes black glass, and/or clear

& colored glass attached to a black glass base. Also includes Tingues and

black glass watch crystals without frames.

6- 5.3 Metal back. (Includes wafer). Div. I wafers are usually thin, and may be

flat, slightly concave, or convex with a protective metal back.

6- 5.3.2 Riveted/glued/soldered on a metal back. Div. I. Multiple small

pieces of black glass mechanically attached to an openwork metal back. In

riveting, wire is embedded in the glass while in a molten state, passed

through a hole in the metal back and peened over. In soldering, a copper

form is embedded in the glass while in the molten state, then soldered to the

metal back. This class does not include black glass pieces attached to thin

wire on the back, even if a loop shank is present, as these are costume and

hat trimmings and are appropriate only in Div. IV, Sec. 5.

6- 6 Molded/cut surface designs, assorted. Includes molded Victorian designs,

as well as wheel cut designs.

6- 6.7 Lacy/lacy-like. Div. I. Delicate molded surface designs, often with fine

stippling. May have luster and/or colored washes. Some have an exact

counterpart in Sec. 7. Div. III. Lacy-like refers to modern buttons with

designs of this type.

6- 7 Other material embellishment (OME) assorted. Refer to page 76.

Includes any additional material attached to the surface of the black glass base as

ornamentation.

6- 7.1 Metal. Includes escutcheons, metal precision inlays, ornamental pin

shanks, rims, etc.

SECTION 7 - GLASS, CLEAR AND COLORED

7- 0 Clear and Colored Glass assorted. Requires labeling as to class and

mounting in numerical order. For more information refer to the latest NBS

Complete Classification of Clear and Colored Glass Buttons handbook. Clear

and colored glass mounted in/on metal is not appropriate in this section, but

belongs in Sec. 8. However, clear and colored glass mounted in/on metal is

allowed in pictorial awards specialized to clear and colored glass.

The color and opacity or transparency are determined by the base of the

button. The color of self-shanked glass buttons is determined by the color of the

shank. The color of glass buttons with cemented glass shank or metal shank is

determined by the color of the glass to which the metal or glass shank is attached.

Radiants with a dab of black glass at the shank are still considered clear and

colored glass. When assembling a tray of one color, all shades and tints of that

color are accepted unless the award limits the exhibitor to one specific tint/shade.

If finishes and/or embellishments are not excluded, the color is judged by the

base/back of the button and not the finish/embellishment. As many types

(classes) of glass buttons as possible should be represented when doing a

specialized tray of one color unless restricted by the award.

7- 1 Back types assorted. All back types including those listed below.

7- 1.1 Four-way metal shank. A hollow metal cube with four openings,

embedded into the glass. Glass age/quality, mold marks, and overall

design/style of the button help determine the age of the button. Div. I box

shanks typically, but not always, have deep and elongated thread grooves

molded into the back.

7- 1.2 Rosette shank. A six-petal shaped plate supporting a loop shank.

7- 1.4 Swirlback. Recognized by the cord-like winding off of the glass around

a metal shank. Any portion of a swirl is acceptable. Although most have a

wire shank, a plate and loop are acceptable if a swirl is evident.

7- 2 Clear colorless. Body of button is clear (transparent) and colorless. A

metal back, overlay, decorative finish (including matte finish), and/or

embellishment does not affect the clear colorless base.

7- 3 Colors assorted. Refers to chromatic colors, including intermixed; also

goldstone and white. Refer to page 72, Color. All buttons are classed according

to their base color, including goldstone. A metal back, overlay, decorative finish

(including matte finish), and/or embellishment does not affect the base color.

7- 3.1 Opaque, translucent. Refers to chromatic colors including opaque

intermixed. Goldstone is appropriate here; white is not. Goldstone consists

of copper colored metallic particles blended into clear glass.

7- 3.2 Transparent. Will show light through at least one angle or direction. A

metal back, overlay, decorative finish (including matte finish) and/or

embellishment is acceptable. Includes blends of multiple transparent colors.

7- 4 Construction assorted. Includes button types formed with heat as well as

those made from special canes (intermixed, moonglows and satin glass). This

differs from the Mechanical make-up class (components joined while in a solid

state). Besides those listed below, includes coralene and tiles in Div. I; Dichroic

glass in Div. III. A type of glass consisting of multiple ultra-thin layers of

different metal oxides affixed to the glass through the use of high temperature

electron beam vaporization of the metal oxides in a vacuum chamber. Due to its

unique physical properties, the color of the coated glass appears to change when

viewed from different angles.

7- 4.1 Blown. Fragile, hollow "bubbles" usually self-shanked.

7- 4.2 Coronet. Div. I. Buttons consisting of a base and top (usually different

colors) each molded separately then fused together.

7- 4.3 Crackle. The glass is deliberately cooled quickly to create an internal

design of cracks or fractures.

7- 4.4 Design in glass surface. Div. III. (DIGS) A smooth, ground or tumbled

button with a subtle design emanating from its surface. A slight impression of

the design may be felt on the surface due to irregularities in tumbling or

grinding but are still acceptable. The design cannot be seen from the back of

the button.

7- 4.5 Flashed. Div. III. Made from transparent colored or clear glass canes

with additional color(s) either on one side of the cane’s surface or all around

it so color may appear on back, front, both back and front, or on the inside of

the button.

7- 4.6 Foil embedded. Any glass with foil embedded under the surface. Poppers

often have this characteristic.

7- 4.7 Fused. Div. III. Two or more layers of prefabricated glass cut out,

artistically arranged and fired. Usually have glued on shanks.

7- 4.8 Impression inlay. Div. I. Metal embellishment pressed into the glass

while in a softened state, e.g., rings (bracelets), small balls, and realistic shapes.

7- 4.9 Intermixed. Opaque, translucent or transparent multi-colored glass,

including blends, slag, imitation tortoise and candy stripe. More than one color

should be visible on button back (different from overlays).

7- 4.9.1 Candy stripe. Div. III. Made from glass canes with clear

colorless, colored transparent, or white stripes alternating with a different

color (either transparent or opaque). Clearly defined parallel stripes run

through the body front to back. Stripes are distinct but do not need to be in

perfect alignment.

7- 4.10 Lampwork. Div. III. Glass worked over an open flame, usually with

a torch. Often realistics with self-shanks.

7- 4.11 Moonglow. Div. III. Made by a special process from a cane with both

clear and opaque glass throughout its length. When heated and pressed into a

mold, it becomes a moonglow if the clear glass “floats” to the top of the button.

There are no requirements for the amount of clear glass over the opaque glass

surface. Moonglows may be grouped in this class or classed according to base

color, molded surface design, finishes, embellishments, etc.

7- 4.12 Overlay. Clear or colored glass of a different color applied over or

swirled into the glass body. There are many styles of overlays, including

encrusted, salt, sheath, and sheet. 1) Encrusted. Div. III. Granular or

globular surface coating applied and fired after the button is made. 2) Salt.

Finely crushed glass applied to the surface while still hot and soft. Looks and

feels rough like salt. Salt may be clear, colored, or lustered. 3) Sheath. A

core of one color covered or decorated with different color(s) including ribbon,

thread, transparent or Venetian glass. These buttons are color classed

according to the color showing at the tip of the shank. Div. III. Cased with

another color, often to the shank showing only a tip of the body color. May be

opaque, transparent or a combination, shiny or frosted, e.g., cased and polished

moonglows (formerly “shaved”), some DIGS. 4) Sheet. One or more thin,

even layers of contrasting colored glass overlaid onto a flat base of glass. The

edges may be ground straight or beveled, and a design is sometimes cut into

the surface revealing the colored layers.

7- 4.13 Paperweight. Made by fusing together a base, set-up and a cap

(three-part) or a set-up and cap (two-part). The set-up is independently made,

decorative in nature, and may appear on top of the base, "float" or form the

base. The shank area or base determines the color and opacity or

transparency. The transparent cap forms the top layer and may cover the

button like the shell of a nut. Contrary to the information in the Revised Clear

and Colored Glass handbook, keyshanks are acceptable in this class. Div. III

artist made paperweights are studio buttons and should be labeled accordingly.

Awards for these studio paperweights are written in Sec. 23, Specific types.

7- 4.14 Radiant. Div. I. Includes identified Glories, Dewdrops, Reflectors, as

well as those unnamed and un-tabulated. The body color of the button

determines its color; not the dab of color at the shank used for decoration. All

radiant awards must be labeled and mounted according to basic body types.

Refer to May 2004 NBS Bulletin.

7- 4.15 Satin. Div. III. Identified by a satiny sheen when turned in the light.

7- 5.1 Acid etched/frosted. Acid is applied to all or part of the surface to

change the finish from glossy to matte. Etched designs are created by exposing

only the desired area to the acid.

7- 5.2 Lusters assorted. Includes gold, silver, gunmetal, copper, bronze,

assorted colors, iridescent/aurora, and crystal alone or in combination, covering

all or part of the button.

7- 5.2.2 Iridescent/aurora. Luster showing two or more colors when

button is moved or tilted from side to side. Div. III. Aurora. Buttons with

a high degree of iridescence and more variation and intensity of colors than

in Div. I iridescent buttons.

7- 5.3 Metallic back (mercury). Div. III. Transparent glass with gold or

silver paint applied to the back giving the button a reflective quality. Not to be

confused with mirror.

7- 5.4.1 Painted back. Includes both molded and smooth backs. Usually

clear, colorless glass. Transparent colors are scarce.

7- 5.4.2 Radiating painted holes. Div. III. Paint is applied in or around

the holes of clear sew-through buttons thus radiating a design of color.

7- 6 Mechanical make-up assorted. Refer to page 76.

7- 6.1 Bound with metal, thread. Div. I. Molded so threads or metal bands

wrapped around the body of the button are held in place by grooves or flutes.

7- 6.2 Glass with glass. Two or more pieces of glass joined together without

heat to form the button. May include foil, e.g., tingue. Tingue. Div. I. A thin

sheet of transparent colored glass, clear glass and a reflective sheet of colored

foil (flashing), laminated onto a glass base; then faceted.

7- 6.3 Metal back. Any glass button reinforced with a metal backing.

7- 6.3.1 Bimini. Div. III. Those not completely backed by the metal plate

are also acceptable here. Refer to page 61.

7- 6.3.2 Kaleidoscope. Div. I. A molded transparent glass cap with a flat

back covering an applied pattern (two or more colors) affixed to a metal

plate almost as large as the base of the cap. Pictorials are appropriate only

in Div. III and IX (similar to Ashlees).

7- 6.3.3 Mirror. Div. I. Colorless or colored looking glass cemented to

a metal back.

7- 6.4 Paper back. Div. I. A thin piece of paper glued onto the back of a clear

glass button without a metal back for protection. Some have a pitch-like

coating to protect the paper. Most have loop shanks but a few are sew-throughs.

7- 6.5 Precision inlay, inset. Refer to page 62, Insertion inlay for definitions of

Precision inlay, inset.

7- 6.6 Two-piece cemented. Div. III. Two glass components, top and shank,

cemented together. The top piece determines the color of the button. Although

sometimes erroneously called “two-piece paperweights", they are not

appropriate under Construction assorted.

7- 6.7 Watch crystal. Div. I. A fragile glass top resembling a watch crystal

attached to a wide shank plate with a thick layer of black adhesive material.

Div. III: Imitate Div. I watch crystals but may be attached to the shank plate

with a different adhesive.

7- 7 Molded/cut surface designs assorted. Molded backs may be used here as

well as in painted backs if appropriate. Also includes wheel cut designs.

7- 7.1 Embossed/cameo. Embossed. A raised design in low relief. Cameo/

cameo-like. A design in high relief.

7- 7.2 Faceted. The amount of faceting required is limited only by specific

awards. Wheel faceting (mechanically ground and polished) as well as molded

faceting is acceptable in this class.

7- 7.3 Imitation fabric. Molded designs imitating fabric, needlework, lace,

cording, beading, etc. May include decorative finish (DF).

7- 7.4 Impressed. The top surface of the button design appears ground/polished

smooth, the part surrounding being sharply sunk. Sunken embossed designs

with ground/polished surface accents and/or borders are also acceptable here.

7- 7.5 Incised/outline. Thin shallow line designs which look as if they are

drawn into the glass with a pointed tool. The lines may or may not be filled

with luster or paint to make them prominent.

7- 7.6 Intaglio. The entire design is in clear relief below the surface (the reverse

of cameo-like).

7- 7.7 Lacy/lacy-like. Imitation fabric is not appropriate here. Div. I. Delicate

surface designs (usually characterized by fine stippling) molded into clear

colorless or colored transparent or translucent glass. In original condition, the

back has colored, silver or gold paint, often coated over with black paint.

Buttons usually have a metal shank but self-shanks may be found. Lacy

buttons without the original painted back, or those having been restored, are

acceptable. Div. III. Lacy-like. Lacy-like refers to modern buttons with

designs of this type.

7- 7.8 Openwork. Div. III. Molded in one piece with one or more openings.

Div. I openwork is rare.

7- 7.9 Victorian. Div. I. Opaque/translucent or transparent glass with low relief

and/or finely incised flowing designs (art nouveau). Typical shanks include 2-

way hump, 4-way box, claw, etc. Most are Div. I, but some are borderline, so

Div. IX is recommended for awards in this class.

7- 8 Other material embellishment (OME) assorted. Includes shell, enameled

metal, rhinestones/pastes, etc.

SECTION 8 - GLASS MOUNTED IN/ON METAL

Includes black, clear and colored glass, and imitation gemstones mounted in/on

metal using various settings and techniques. Metal buttons with glass

embellishment belong in Sec. 10. Buttons with equal emphasis on glass and

metal are acceptable here as well as in Sec. 10. Unless clearly qualifying as glass

mounted in metal, Gay nineties, due to their diverse nature belong in Sec. 23.

Glass mounted on metal by way of pin shank or glue is acceptable. Includes

some protrusions (button focus is glass protruding through cut-out metal). Not

included are glass metal backs (Bimini, kaleidoscope, mirror, riveted). All other

materials mounted in/on metal belong in their own material section/class or in

Sec. 23. Refer to page 75, Materials mounted in/on metal.

8- 1 Black glass. All types of black glass mounted in/on metal including

waistcoat/vest buttons (formerly called weskits).

8- 2 Clear and colored glass. All types of clear and colored glass mounted

in/on metal including waistcoat/vest buttons (formerly called weskits).

8- 3 Drum with glass center. Div. I. May have clear and colored glass or black

glass centers. Drums with other material centers belong in Section 23 or

appropriate material section. Refer to page 73.

8- 4 In/on/under glass assorted. Includes buttons with transparent glass as a

shield for the design, reverse painting on glass and designs in/on/under glass.

Designs of other materials under a glass shield may be used in their appropriate

material sections as well as in this class.

8- 4.1 One-piece mounting. Div. I. Characterized by a mounting with no

separate rim, these buttons have a thin rolled-over edge and an attached ring

or self shank. Glass “designs” are varied. Some have a molded surface, either

front or back, with added luster or paint enhancement. Many have iridescent

liners of celluloid, pearl or foil as a reflective background behind the glass

giving them a three dimensional effect. Opaque molded glass is not appropriate

here.

8- 4.2 Shield. Undecorated glass used only to protect a material underneath

(no reverse painted).

8- 5 Imitation gemstones. Glass, faceted or cabochon shaped, imitating

precious and semi-precious gemstones in various settings. May be opaque

(imitating coral, jade, etc.) or transparent (imitating rubies, diamonds, etc.).

Plastic imitating glass and actual gemstones are not appropriate here.

8- 5.1 Rhinestones/pastes. Transparent glass imitating precious and semiprecious

jewels. Typically foil backed, they include all colors, as well as

colorless (may have iridescent finish); awards may specify color and/or type

desired. Mountings include single, multiple, claw, prong, bezel, pavé, channel,

etc. Does not include faux pavé. Refer to page 74.

SECTION 9 - HORN

9- 0 Horn assorted. Made of keratin (a naturally occurring “thermoplastic”

material). The 3 major sources of keratin used for buttons are 1) horns of cattle

and other related horned animals (water buffalo), 2) hooves of cattle and horses,

and 3) tortoises. Most are processed. Does not include antler (bone).

9- 1 Processed horn, hoof, tortoise assorted. Buttons were cut from sheets of

horn having been boiled, sawn and flattened. These were left a natural color,

dyed, stained, or bleached. Any visible grain showing is longitudinal. Some

were molded into intricate designs, others inlaid, embellished or veneered with

other materials, or decorated with a finish. Buttons labeled “Buffalo Horn” on

original cards with patent dates between 1871-1884 were made of ground up

horn. There is a surface layer of colored horn, usually red, pink, blue, green, tan,

brown, light and dark gray or black, sometimes in solid color but more often in

patterns, splotches, stripes, swirls, etc., with flecks of tinsel, pearl chips or other

bits of contrasting material. Some have metal embedded around the shank holes.

There are similar looking composition buttons.

9- 1.2 Tortoise shell (not including tortoise veneer). Made entirely of natural

tortoise shell. Tortoise shell buttons are typically cut thinner than horn and are

more translucent. They often exhibit beautiful mottling of light and dark brown

coloring and take a higher polish than horn. Tortoise shell was also molded

into 3-dimensional shapes such as knots and balls.

9- 2 Unprocessed horn. Buttons cut from the natural tips (solid portion) of cow

horns; carved, sliced, turned/lathed, then polished. Because of the cross grain

cut, the grain is always concentric rather than longitudinal. Div. I carved horn

buttons are scarce, e.g. owl head, dog head, parrot head, etc., but Div. III buttons

carved of black water buffalo horn are plentiful. Turned/lathed buttons may be

ball-shaped, domed or variously contoured and show sharp circular lines and

occasional indents on the back. Most are utilitarian; colors ranging from cream,

to dark brown, black and gray, with various mottling and striations. Older

turned/lathed buttons may have vertical two-hole shanks (similar to whistles but

front hole larger in diameter), while others are typical 2 and 4 hole men’s suit or

trouser buttons. Sliced and polished horn are usually sew-throughs.

9- 3 Back types. Includes sew-throughs (2, 3, 4 and 5-hole), whistles, and

various types of patented shanks, pin shanks and nail-head shanks.

9- 4 Decorative finishes (DF). Includes dye, paint, metallic luster, and

iridescent finish. Horn buttons finished with more colorful dyes such as blue,

green and red are especially desirable. The color sometimes permeated the entire

button, but was also applied to the surface only.

9- 5 Mechanical make-up assorted. Refer to page 76. Includes repoussé

hornbacks, laminates, and 2-piece horn buttons.

9- 5.1 Insertion (precision) inlay, inset. Includes insertion inlays with strips

of abalone shell, white pearl or ivory set flush into grooves cut for them in a

base of horn. Also included are insets of other materials, set into a depression

cut or molded in the horn to receive them, which stand in high or low relief to

the surface. Pearl or polished steel embellishments are often set into

depressions molded to receive them. Some early 19 century pin shanked horn th

buttons have an inset of ivory, through which the shank is inserted.

9- 5.2 Veneer/inlaid veneer (including tortoise veneer). Div. I. Includes any

horn based button with a surface veneer of another material, including tortoise

over horn. Veneer materials include composition, tortoise, and wood. Horn

base buttons with tortoise veneer are often impression inlaid with pearl and

metal.

9- 6 Other material embellishment (OME). Includes pearl, shell, celluloid,

wood, ivory, bone, fabric, enamel and paste as well as metal.

9- 6.1 Metal. Includes faceted steel, polished steel mirrors, pierced stamped

brass, silver, escutcheons and rims.

9- 8.1 Carved, turned/lathed. The reductive designs done by this working

method may be either hand or machine applied.

9- 8.2 Impression inlay. Materials were pressed into the horn/hoof while hot

and still plastic. Inlay materials include pearl, pearl chips, yellow and white

metal shapes or cut outs, ivory, tinsel and sharkskin pellets. Jewelry quality

buttons were inlaid with gold or silver pins (piqué point), gold stars or silver

or gold wire (piqué posé).

9- 8.3 Molded surface design. Most early molded horn buttons were dyed in

dark colors and press-molded with textile designs for mens wear. These were

followed by patterns and contours resembling Florentine silk coat buttons

(1830's) and gilts (1830's and 1840's). Includes livery, sporting,

commemorative and political designs as well as mythological and semi-classical

heads (1860's and 1870's) and picture buttons (1880's). Military,

naval and other uniform types are appropriate in Div. II. Molded designs range

from shallow embossed patterns to cameo type pictorials.

SECTION 10 - METALS

A metal button must have a metal back and face design (the focal point of the

button). Buttons may have decorative finishes (including enameling) or other

material embellishment (OME) unless excluded by the award. Refer to page 73,

Decorative finish (DF), and to page 76, Other material embellishment (OME).

The addition of gilt (gold) or plate (gold or silver) during the manufacturing

process is not Decorative finish (DF). If the gold or silver plating covers the

entire button, it is classed as gilt or white metal. However, if the plating is worn

off so the base metal of the button is visible, the base determines the metal, e. g.,

brass, copper, etc. If an award specifies "metal only" or “all metal”, only a metal

different from the base metal may be used to embellish the button; decorative

finishes (DF) are allowed unless excluded by the award. Buttons of one metal

mounted in/on a different metal are considered to be the metal of the base of the

button. A pewter center in a brass cup is considered a brass button. However,

2- and 3- piece metal buttons with japanned tin or steel backs are considered to

be the material of the face (front). A button with a brass face and japanned tin

back is considered a brass button.

10- 1 White metals assorted. Buttons constructed of white metal alloys,

(appearing white or gray). Appearance may be altered by the addition of gilt,

plate, or decorative finish (DF). The most common white metals are steel,

pewter, silver, silver plate, tinned steel or iron, aluminum and a white metal alloy

which closely resembles silver or steel, although non-magnetic (probably German

or nickel silver, an alloy of copper, nickel and zinc).

10- 3 Pewter assorted. Soft white metal alloys including "lead pewters" and

"tinted or bright cut pewter", as well as Britannia, or "hard whites".

10- 4 Silver assorted. Usually alloyed with copper to give it strength and

hardness. Sterling or 925 silver is 92.5 % silver, 7.5 % copper. Coin silver (900

silver if marked) is 90 % silver, 10 % copper. Jewelry or 800 silver is 80%

silver, 20 % copper (Handbook of Chemistry and Physics). Unless hallmarked,

sterling and coin silver are essentially indistinguishable.

10- 4.1 American Indian, Mexican. Old American Indian buttons are

commonly made of U.S. silver coins and are usually not back marked.

10- 4.2 Hallmarked or quality marked. Includes maker’s marks, assay marks,

quality marks, etc., of all countries. Awards may be written to specialize to one

country only.

10- 4.3 Niello. A black surface treatment of silver.

10- 5 Steel assorted. Div. I. Attraction to magnet is a key to identification.

10- 5.1 Blued. Color may be applied to all or part of the body of the button or

embellishment.

10- 5.2 Cut and riveted. Face of the button consists entirely of faceted steels

riveted to a solid or openwork back that may be of steel or another metal,

usually brass.

10- 5.4 Flat with applied design. Design components are mechanically

attached and often include other material embellishment (OME).

10- 5.6 Steel cup. Steel body must be concave to a degree, serving as a cup to

hold a center. The edge of the cup may be narrow and relatively inconspicuous,

or broadly flattened and/or recurved. Pierced cups are also included. If the

steel button is not a plate, it is classed as a cup. May include any kind or

amount of other material in the center and are accepted as metal buttons unless

the award specifies metal only.

10- 6 Tinned white metals. Includes all white metals or iron with a tin coating.

Often tinted with color. Crystallized tin. Div. I. Tin deposited on sheet iron

electrically, resulting in a pattern resembling a frosty window pane. Buttons

made of pure or "block" tin are very rare.

10- 7 Yellow metals assorted. Includes all buttons made of yellow metal alloys.

Their appearance may be altered by the addition of gilt, plate, or decorative finish

(DF).

10- 9 Copper. Pure copper is a soft reddish metal. For buttons it is alloyed with

a minute amount of zinc to harden it. Eighteenth century copper buttons have

hand-stamped dots and fine line designs. Some were plated with silver or gilt;

some were embellished with pearl, enamel, glass or various metals. Since the 18th

century, copper buttons have seldom been produced. Some were made during the

Arts and Crafts Period ©. 1890's - 1930). Copper was used as a base for gilt

metal buttons in the late 19th and early 20th centuries (men’s blazer buttons).

Southwestern Indian and Mexican copper buttons are found as well as souvenir

and studio buttons.

10- 10 Gilt/plated assorted. Div. I. Gilt refers to any metal plated with a thin

coating of gold. Silver plate: a thin coating of silver. When applied to metal, gilt

or plating is not considered a decorative finish (DF). If plating is intact, the

button is considered that material, e.g., a silver plated button is considered silver.

If plating is worn to expose the base material, the button is considered to be that

of the base material, e.g., a silver plated button with yellow metal showing is a

yellow metal button. Buttons with quality marks are appropriate in this class.

Also includes Victorian gilts: small size buttons resembling early Gilts, but of

cheaper construction. These were made after the Golden Age period in the later

part of the 19th century and are of one- or two-piece construction with stamped

or chased designs. The two-piece usually have tinned iron backs, but some have

a plain brass back. Div. III. Refers to modern gold plated or washed buttons as

well as some other modern yellow metal buttons called “gilt” by their

manufacturers.

10- 10.1 Early Gilt . Div. I. All buttons of the 1820-50 period, particularly of

English, French and American manufacture.

10- 10.1.1 Golden Age. Div. I. A collector's term for gilt or plated

pictorial, non-pictorial and plain faced buttons of American manufacture

during the 1820-50 period. Includes buttons of one, two, and three-piece

construction with manufacturers' names on the back. Neither buttons with

clothiers’ back marks nor those made during this period for more specific

uses, e.g., sporting, political campaign, commemorative, or uniform, are

acceptable. Buttons produced after 1850, including those by D. Evans & Co.

and the U.S. Button Co., also are not proper in this class. Refer to page 5,

Mounting requirements. This class is for metal only. Golden Age buttons

with black glass and pearl centers are appropriate in Sec. 23 under Back

marks, Golden Age.

10- 10.1.2 Jacksonian. Div. I. Small one-piece gilt buttons with separate

rims. May be pictorial, non-pictorial or plain faced. Backs may have

company marks, designs or nothing at all.

10- 11 Backgrounds. (Metal only, including screen, twinkle, etc.). Refer to

page 59.

10- 12 Decorative finishes (DF) assorted. Refer to page 73, Decorative finish

(DF). Not included are gilt/plated, or tinned. Enamel is acceptable as long as

the metal is the focus.

10- 12.3 Japanned, lacquered, stenciled. Div. I. Brass and tin buttons covered

on the face with a mineral based lacquer, usually appearing dark or black.

Added designs are etched or painted over this coating. Stenciled designs on

metals such as crystallized tin are appropriate here, also. Refer to page 78,

Stencil. “Tole painting” was later done on brass as well as tin, and the term

tole became confused with the technique. Stenciled designs on tin, and designs

painted over a lacquered base are considered tole work regardless of the type

of metal.

10- 12.4 Original tint/finish. Div. I. Colors the surface without obscuring the

metal. Polishing damages this finish.

10- 12.5 Paint. May be fired on or not.

10- 13 Mechanical make-up assorted. For metal buttons, this term applies to

the number of main parts (front, back, rim) needed to assemble the finished

button. Decorative designs applied to the face are not counted as a main part.

Rims, also, may sometimes be decorative rather than functional in nature, e.g.,

Jacksonians.

10- 13.1 One-piece. A single piece of metal serves as both the face (front) and

back of the button with the shank typically applied directly to the back. Some

are pin shanked with an escutcheon. Buttons having applied designs on the

face often are one-piece construction.

10- 13.2 Two-piece. A face and a separate back with one part turned over the

other to secure the two parts. The face may be cut out with a metal background

or additional pieces may decorate the face. Includes “French tights”, made

in the late 19th century, appear to be one-piece but are actually very tight two-

piece construction. They may have a brazed ring shank, cone self-shank or

occasionally sew-through. All have French back marks. Refer to Oct. 2005

NBS Bulletin.

10- 13.3 Three-piece. A rim holds the face and back together. The face design

may include any number of pieces.

10- 13.4 Openwork design. Refer to page 77, Pierced/openwork.

10- 13.5 Twinkle. Two and/or three-piece construction. Face is perforated with

holes, slots or filigree and backed with shiny liners that twinkle when

illuminated. Liners are usually gold or silver (iridescent and colored liners are

less common). Any amount of reflective metal is acceptable, i.e., backgrounds,

border, small section of a design, etc. Twinkle background buttons are also

appropriate in the Metal background class, as well as Backgrounds assorted in

Sec. 23.

10- 14 Other material embellishment (OME) assorted. The metal must be the

focus of the button with embellishment used merely to enhance the metal design.

Materials used to embellish metal buttons are: other metals, clear and colored

glass, black glass, rhinestones/pastes, shell, synthetic polymers, celluloid, fabric,

gemstones, etc. Decorative finishes (DF) such as original tint, paint and enamel

are not considered other materials. Buttons with equal focus on the embellishing

material and the metal base may be used in either appropriate class.

10- 14.1.1 Pigeon eye. Div. I. One tiny round glass ball set anywhere in

the face of the button. Glass can be red, green, or black; usually finished

with a bronze or iridescent luster that is often quite worn. Unless excluded

in the award, faceted glass of this nature is included.

10- 15 Specific types. Includes tintypes (ferrotypes) with or without celluloid

shield, and wire filigree in addition to those listed below. Tintypes (ferrotypes):

Photographs taken directly as a positive print on a sensitized plate of black

lacquered iron, thus attracted by a magnet.

10- 15.1 Inlay/overlay. Metal with metal or metal alloys only. Includes bidri,

damascene, shakudo, etc. Bidri: silver or silver foil inlaid into a blackened

alloy of zinc. Damascene: metal (usually blackened) inlaid with gold and

silver hammered flat, then sometimes engraved. Shakudo: Collectors term for

Japanese metal work using a dark pickled metal alloy base decorated with

copper, gold, and silver.

SECTION 11 - SHELL

Includes all types of shell, with or without iridescence, unless it is excluded by

an award or by the class itself. The latest NBS Classification of Pearl and Shell

Buttons handbook will provide additional guidance for preparation of entries in

this section.

11- 1 Iridescent shell (pearl). Includes Abalone (all colors), Ocean Oyster

pearl (white, yellow, brown, smoky gray to almost black), Trochus, Fresh-water

Mussel, Green Snail (Turbo), the Chambered Nautilus, etc. “Colonial” pearls

are mostly white oyster shell ,but some are black oyster shell. Buttons have: 1)

a large round shank made of heavy brass wire usually a pin shank, 2) a thick

heavy disc body usually straight sided (not mounted in metal), and 3) usually a

design lightly carved or engraved in a simple geometric pattern. Rarely pictorial

or plain. Colonial pearls are not 18th century.

11- 1.1 "Bethlehem" pearl. Div. III. Imported buttons of white oyster shell;

often intricately carved and/or pierced; occasionally with abalone inlay;

usually, but not always, with a religious design.

11- 2 Non-iridescent shell. Includes the Operculum of the Tapestry Snail

("cat's eye"), Pinna (Pen), Conch, Helmut, Cowry (several varieties), Olive,

Chiton, etc.

11- 4.1 Dyed. Shell colored with dye penetrating part or all of the surface.

11- 4.2 Gilded. Div. I. Applied metallic paint, colored foils, gold or silver leaf.

11- 4.3 Paint encrusted. Div. I. The design, all or part, is raised by the use of

a plaster-like substance, then painted. Painted only. Design painted with oil

based paint.

11- 4.4 Transfer/Decal. Refer to page 79.

11- 5.1 Frame. The body of the button forms a frame for a center of any

material other than shell.

11- 5.2 Inlay, inset. The insertion of a material into the surface of shell. Inlays

are flush with the surface; insets are not. Refer to page 62, Insertion inlay.

11- 5.3 Laminate, veneer. Bonded layers of shell, usually of differing colors

and/or texture; each layer visible when viewed from the front. Veneer. Refer

to page 62. Pearl veneer over a horn or bone base is not appropriate here. The

base must be made of shell.

11- 5.4 Overlay. Decorative layer of shell attached to the face of a shell button

that may extend over the whole face or only part of it; when it covers the whole

face it is carved or pierced so the underlying shell, generally of a different

color, shows through; overlay may be attached with glue, steel rivets or a pin

shank.

11- 7 Other material embellishment (OME) assorted. Includes other types

of shell, enameled plaquettes, lithographs, porcelain, ivory, etc., as well as those

listed below.

11- 7.1 Glass, rhinestones/pastes. Includes black as well as clear and colored

glass.

11- 7.2 Metal assorted. Includes all metals, such as cut steels, yellow metal,

steel, pewter, aluminum, silver, etc., as well as ornate mountings, i.e., cut steel

border, rim, elaborate border, etc.

11- 7.2.3 "Watch wheel". Div. I. Refer to page 79.

11- 7.2.4 Yellow metal. Includes brass, copper, bronze and gold.

11- 9.1 Carved. (Including cameo carved). Cameo carving utilizes the color

and/or shade stratification of the shell in the design, usually in high relief.

Refer to page 71.

SECTION 12 - SYNTHETIC POLYMERS (revised effective 2008)

All types of synthetic polymers (plastics) except celluloid are included here.

An award may specify a basic category such as Thermoset, or focus on a specific

type, like Bakelite. Identification of a specific plastic comes from a variety of

clues, including hot needle testing. Detailed information about the various types

of synthetic polymers and how to identify them can be found in the NBS

Synthetic Polymers Handbook.

12- 0 Synthetic polymers assorted. Div. III. All synthetic polymers are either

thermoset or thermoplastic. Both types are included here. Awards must state if

the type of plastic is not a factor. Labeling is recommended for assorted plastics

awards to aid judging.

12- 1 Thermoset types assorted. After the material has solidified, it cannot be

softened again. Includes Amino resin, Casein, Phenolic resin, and Polyester.

12- 2 Thermoplastic types assorted. Heat applied to a solidified piece of the

material will soften it again. Includes ABS, Acrylic resin, Cellulose acetate,

Nylon, Polymer clay, Polystyrene, HDPE, etc.

12- 5 Clear colorless. Body of button is clear (transparent) and colorless. A

metal back or mounting, decorative finish (DF) and/or embellishment is

acceptable. Viewing button from the side may help determine true color.

12- 6 Colors assorted, black. Color is determined by the color of the base.

Awards must specify if color of the front of the button is desired.

12- 6.1 lntermixed. Mix of colors and/or mix of opaque/translucent and

transparent in the plastic batch itself made as one piece of plastic; not separate

pieces of plastic combined.

12- 6.2 Opaque, translucent. Body of button is either all opaque or all

translucent. If opaque, no light passes through. If translucent, light passes

through, but is diffused (not transparent).

12- 6.3 Opaque or translucent combined with transparent. Opaque or

translucent parts are combined with transparent part(s) by lamination, glue, etc.

12- 6.4 Pearlized opaque. Plastic itself is pearlized. Does not refer to surface

finish.

12- 6.5 Transparent (colored). Body of button is transparent and colored.

Embellishment or finishes are acceptable.

12- 7 Decorative finishes (DF) assorted. Refer to page 73. In addition to those

listed below, this class includes 1) Flocked. Soft, velvet-like powder of synthetic

fiber applied with glue to make a soft matte finish. 2) Hot stamped foil.

Decoration transferred by pressing a heated die against a sheet of foil into the

plastic. 3) Frosted surface. 4) Silk-screen printing. Ink or special paint

applied directly onto the plastic.

12- 7.1 Cold plastic enamel. Polyester or epoxy resin liquid combined with a

catalyst containing MEK peroxide, which hardens after being mixed together.

Imitates enamel work, usually glossy, but is applied like paint and hardens

without firing. This class applies only to plastic buttons with this finish.

12- 7.2 Metalized. Early process consisted of electroplating a metal onto the

surface of the plastic. Later process consists of coating with a metallic-like

liquid imitating one of the various metals.

12- 7.4.1 Painted and buffed. Molded design coated or sprayed with

paint, then high areas buffed to reveal the plastic color, usually white or

cream. Typically, Celluloid (Sec. 1) or Cellulose acetate.

12- 7.5 Pearlized surface. Plastic buttons pearlized with a wash made from fish

scales or other methods.

12- 8.3 Imitation glass, rhinestones/pastes. Plastic imitating semi-precious and

precious stones, including faceted and cabochon.

12- 8.5 Imitation tortoise shell, horn. May be all opaque, opaque/translucent,

or opaque/transparent intermixed color, varying from light tan to dark brown.

12- 9.1 Glass. Does not include rhinestones/pastes.

12- 9.2 Glitter. Glued on the surface or mixed with cold plastic enamel and

applied to the surface but not embedded in the body.

12- 9.4 Other plastics embellishment. Bakelite with celluloid, casein with

acrylic, Bakelite with acrylic (Lucite), plastic imitation jewels (usually

polystyrene) mounted on another type of plastic.

12- 11 Techniques assorted. In addition to those listed below, this class

includes 1) Canework. A technique similar to glass canes. Body of button may

be a slice of cane, or a thin slice of cane may embellish the plastic surface. 2)

Patterned. Honeycomb, swirls, concentric circles, radiating lines, etc., run

through the button. Shaded or colored sections appear from back to front in that

pattern. 3) Reversible. Sew-through buttons with a different design molded on

either side.

12- 11.1 Coated. Front surface of base material is covered with a smooth

coating of the same material in another color or a different plastic. The design

is often created by cutting through the coating to the base material. Different

from buffed.

12- 11.2 Cut on back. Design made on back of button with a cutting tool,

including needle effects. Molded back designs do not belong here.

12- 11.3 Cut on face. Design made on front of button with a cutting tool,

including needle effects and laser cuts. Molded face designs do not belong

here.

12- 11.4 Design in/under plastic, types 1 & 2. 1) Design in plastic surface.

DIPS. Pearly plastics with a design just under the same-color surface which

cannot be felt with the finger. 2) Design under plastic surface. DUPS.

Design (pictorial. pattern. etc.) of the same or another material under

transparent plastic. Includes modern polyesters with opaque backs, embedded

objects or designs under a clear layer. Buttons with designs under a plastic

shield are also appropriate here.

12- 11.5 Double-cut. Opposing patterns cut from both back and front thus

creating openwork designs.

12- 11.6 Embedded. Different material or object suspended in button body.

Includes foil, granules, flakes, metallic bits, tiny rectangles of plastic, etc.,

generally of a contrasting color. Objects such as flowers, seashells, algae,

“sulfides”, etc., are embedded in various plastics.

12- 11.7 Encrusted. Tiny bits of plastic or other coarse sugar-like grains, as

well as pearl tessarae, glued or adhered to the button surface.

12- 11.8 Hologram/hologram-type. Thin discs containing 3-dimensional

images created by a special photographic process. Different visual effects

evident when button is tipped from side to side. Hologram-type. Designs

with varying visual effects when tipped from side to side, usually color

changes. Created by bonding an extremely thin layer of hologram-type

material onto a plastic button. Not appropriate in mechanical/movable class.

12- 11.9 Incased. Separate pieces of plastic form a container or case (a front

and back section with space between) that holds flowers, stamps, fabric, foil,

etc., inside. The top (face) is always transparent and need not cover the entire

base.

12- 11.10 Inlay. "Embedded inserts" are previously molded plastic or other

material pieces, inserted in the back or onto the top of a button. These are

usually impression inlays. Refer to page 61.

12- 11.11 Laminate. Buildup of different colored layers bonded together, then

tumbled and polished as a single unit. The laminated layers may be one on top

of another in 2 or more different colored layers, or may be side by side.

“Combined” lamination uses the same process, but sections are assembled in

patterns rather than in layers. "Cookies" are made from laminated rods.

12- 11.12 Mechanical/movable. Refer to page 61, Mechanical/movable.

12- 11.13 Molded. (Including compression, injection, blow, extrusion, etc.)

Methods of molding are not judged unless specified in the award. It is

sufficient to know only that the button is a molded example, and not formed by

other methods such as casting, machining, hand carving, etc.

12- 11.14 Mounted in metal. Includes all plastics mounted in metal, including

"jelly bellies" and backgrounds. Refer to page 75, Jelly bellies and to page 75

for Materials mounted in/on metal.

12- 11.15 Pierced/openwork molded. Refer to page 77. Twists and knots with

openwork top through bottom qualify.

12- 11.16 Sculpted. Designs such as swirls, holes, streaks, etc., made in the

surface of plastic with a hot tool.

12- 11.17 Snap-together construction. Two or more separate pieces joined in

one of two ways: 1) shank snaps through a hole in the body thus joining top

part(s) to base and 2) part(s) snap into/onto the shanked base. These parts may

be a) easily snapped apart/together or b) fused together at the factory and not

easily separated without damage. The material and color is determined by the

base part, the part into/onto which the other part(s) are snapped.

SECTION 13 - VEGETABLE IVORY

13- 0 Vegetable ivory (VI) assorted. Buttons made from nuts of several

species of palms.

13- 1 Back types. Includes self shanks, pad backs, a variety of metal shanks and

sew-throughs. Threadbacks are scarce.

13- 2 Decorative finishes (DF) assorted. Includes all applied surface

treatments as well as matte finish and the use of natural bark to enhance the

surface design. Refer to page 73.

13- 2.3 Stencil/rubber stamp/transfer. Application of ink, dye and/or resist (to

keep dye from coloring an area) to create a design. Transfer: Refer to page

79. Stencil: Refer to page 78.

13- 3.1 Frame. Centers include lithographs, fabric, glass, design under glass,

etc.

13- 3.3 Vegetable ivory with vegetable ivory. Two or more pieces of

vegetable ivory glued, pinned or otherwise attached.

13- 6.1 Carved, turned, lathed, engraved/laser engraved. Includes buttons

open from side to side that do not qualify as pierced.

SECTION 14 - WOOD

14- 0 Wood assorted. Includes all species of wood as well as buttons made of

processed wood products. Does not include bamboo, coconut shell or fruit pits.

14- 1 Processed wood assorted. Buttons made of wood dust or pulp mixed with

other materials to form a moldable substance. Includes Masonite as well as those

listed below. Masonite is a brand name of processed wood characterized by a

screen like impressed design on the back.

14- 1.1 ANN, GAP. Div. III. Processed wood buttons back marked ANN or

A (American Novelties and Notions) or GAP (General Arts Products). Buttons

of a similar nature without back marks should be entered in Cl. 14- 1.2.

14- 1.2 Syroco, Burwood. Div. III. Trade names of buttons made of molded

processed wood pulp without back marks.

14- 2 Unprocessed wood. Buttons cut directly from solid wood. They may be

further enhanced with decorative finish (DF), other material embellishment

(OME), mechanical makeup, working methods, etc.

14- 4.2 Stain/dye. A thin substance absorbed into the grain of the wood. The

grain is still visible.

14- 5 Mechanical make-up assorted. Includes repoussé woodbacks.

14- 5.1 Inlay, inset. All types of materials inlaid or inset into wood are

appropriate here, including wood itself (intarsia, parquetry). Refer to page 61.

14- 5.2 Laminate, veneer. Refer to page 62 for laminate, and to page 62 for

veneer.

14- 5.2.1 Laminated with synthetic polymer. Div. III. Only buttons with

the shank attached to or formed from wood are appropriate here.

14- 5.3 Wood with wood. Two or more pieces of wood mechanically attached

to a wood base. Wood beads are included. All methods of attachment to the

base are accepted.

14- 6.1 Background. Includes woven wood backgrounds as well as single

piece.

14- 7.3 Paper (decoupage). Div. III. Printed paper bonded to the wood base,

then covered with protective clear coating.

14- 9.1 Burned design (pyrography). Div. III. Design created by wood-burning

technique.

14- 9.4 Pressed. Designs stamped or pressed into natural wood. The grain of

the wood is still evident. Does not include molded processed wood.

SECTION 15 - OTHER MATERIALS

All materials not included in previous materials sections.

15- 1 Bone assorted (including antler). These have been combined in this

class due to the similarity of these natural materials. Includes repoussé

bonebacks.

15- 2 Composition. Div. I. Molded buttons composed of a mixture of

undetermined substances including a binder (most often shellac). Surface may

have impressed pearl tesserae, metallic or colored flecks as well as other

embellishment and finishes. Does not include molded ground horn or molded

wood composition buttons.

15- 3 Ivory assorted. Includes all types of animal ivory: elephant, walrus,

mammoth, etc.

15- 3.3 Other material embellishment (OME). Includes all metals, metal rim,

ceramics, fabric, shell, glass, rhinestones/pastes, horn, etc. Also includes inlays

(Shibayama style).

15- 4 Rubber. Div. I. Includes back marked rubber only. However, diminutive

size, which are not always back marked, are acceptable here.

15- 5 Unlisted. Includes all materials not listed elsewhere. For example,

Vulcanite and Ebonite (two names of English molded hard rubber buttons made

very early that aren’t back marked) belong here. Petrified and fossilized organic

materials such as wood and bone are also appropriate here since they have

turned to mineral. It is permissible and often advisable to use more than one

button from this class in the preparation of an entry in assorted materials. The

best tray of assorted materials will also include many different decorative effects.

SECTION 16 - MATERIALS SUMMARY

SECTIONS 1 THROUGH 15 EXCEPT 3

Includes all material sections except Sec. 3 (chinas may be represented in Sec.

2, Ceramics). The required number of buttons from each section must be used

and judging is based on the best overall assortment of materials and techniques.

No more than half the buttons shall be pictorial. Buttons must be labeled as to

class, and mounted in numerical order. Each material shall receive equal credit.

Care should be taken not to overload the tray with materials from the same class

or section at the expense of another, such as plastics, metals, unlisted other

materials, etc. Unless limited by the award, 18th century and studio buttons may

be used if appropriate for the division.

SECTION 17 - ANIMALS

Animal heads, animals with people and animals wearing human clothing or

doing human activities are allowed in this section unless excluded by the award.

If desired, awards may be written to include only animals in a “natural” state by

excluding those wearing clothes or doing human activities. Dead animals in their

entirety are permissible here as well as in Sec. 18. Animal claws, skeletons of

vertebrates, etc., belong in Sec. 18. Toy Animals belong in Sec. 18. Cartoon,

comic, commercial and storybook animal characters (Mickey Mouse, Uncle

Wiggily, etc.) are acceptable here and in Sec. 20.

17- 1 Amphibians. Tadpoles are acceptable unless excluded by award.

17- 2.4 Wading, water birds. Birds with relatively long legs for wading in

water (heron, flamingo, stork, etc.), as well as birds who live most of their lives

on the water (duck, swan, sea gull, penguin, etc.).

17- 3 Fish. Should be recognizable as fish but need not be identifiable unless

specified in the award. Includes seahorses but not starfish.

17- 4 Invertebrates assorted. Includes all animals without a backbone.

17- 4.3 Insects. Larvae/caterpillars are acceptable unless excluded by the award.

17- 4.4 Mollusks. Includes shells of mollusks. Even if the shell is the only part

of the animal visible, it is assumed to be occupied by a living creature. If the

shell is obviously empty (half a bivalve), it belongs in Sec. 18.

17- 5.3 Deer family. Includes deer, elk, reindeer, moose, etc. Award may

specify or exclude any part of the family.

17- 5.6 Horse family. Includes horses, asses, mules, zebras, etc. Buttons

depicting horses with people and/or vehicles are acceptable. Award may

specify or exclude any part of the family, e.g., domesticated horses without

riders.

17- 5.8 Swine family. Includes wild boar and domestic pigs.

SECTION 18 - OBJECTS

Includes small inanimate objects, as well as human or animal skeletons or parts.

Certain crossover buttons, such as coin type, heraldic, or baskets with fruit or

flowers may be used here as well as in other appropriate section(s). Not included

here are large objects (buildings, trains, statues, etc.), which belong in Sec. 20,

stars (Sec. 20 and 22) and hearts (Sec. 22).

18- 0 Objects assorted. Includes all listed classes as well as “unlisted” objects.

It is not necessary in this section to represent all the whole numbers before using

the many unlisted examples. Equal credit is given for each different object.

18- 3 Coins and coin type. Includes buttons made from actual coins as well as

those imitating coins. Enameled or cut out coins are permissible here.

18- 4 Containers. May or may not hold fruit, flowers, etc.

18- 5 Claws, feet, hands, hoofs, paws. Separate parts of human or animal

bodies. Includes foot, paw and hoof prints. Heads belong in Sec. 17 or 20.

18- 6 Fashion accessories assorted. (Without people). Awards may specialize

within sub-classes.

18- 6.3 Footwear. Includes shoes, boots, sandals, skis, snowshoes, etc.

18- 6.4 Hats, headdresses. Includes any type of head adornment (hats, caps,

crowns, flowers, ribbons, etc.).

18- 8 Masks. Meant to disguise or imitate a suggested wearer and may have

eyes, ears, nose, mouth and neck. Egyptian death masks are acceptable.

Distinctive theatrical or clown make-up applied to a face is unacceptable.

18- 10 Shells. Uninhabited only.

18- 12 Unlisted. Feathers, tassels, books and others too numerous to mention.

SECTION 19 - PLANTS

Unless excluded by the award, small insects, birds and containers are

acceptable on buttons with prominent plant life. Plant life should be recognizable

but need not be identifiable unless specified in the award. Stylized plant life

designs belongs in Sec. 22.

19- 1 Cattails. Not appropriate as a flower.

19- 2 Flowers assorted. Stems and leaves may or may not be present.

19- 3 Fruits assorted. Includes fruit in its general, rather than technical, sense

and does not include those vegetables, nuts, or grains botanically classed as fruits.

19- 5 Grains, grasses. Clover is not a grass; belongs in leaves.

SECTION 20 - OTHER PICTORIALS

20-0 Other pictorials assorted. Must be labeled as to class number, and

mounted in numerical order.

20- 1 Architectural structures and/or scenes. Includes all buildings, bridges,

mountains, landscapes, statues, walls, rooms, etc. Smaller structures, such as

birdhouses, bees hives, etc., belong in Sec. 18, objects.

20- 2 Astronomical. Astronomical features include: 1) the moon, with or

without face, waning (frowning), and waxing (smiling), 2) planets (Saturn and

Earth) 3) the sun (with or without rays, rising and/or setting), 4)

meteors/shooting stars/comets 5) stars. Includes multiple stars in a night sky

with or without a crescent or full moon; a moon or stars over a scene or

accompanied by other subjects as long as moon and/or stars are predominant;

multiple stars symmetrically arranged; a single star or crescent, as well as star or

crescent shapes. Multiple stars may be used in the pattern section also.

Atmospheric features such as rain, snow, wind, clouds, lightening, rainbows, etc.,

are Unlisted.

20- 3 Cartoon, comic, commercial characters. Div. III. Includes

depictions/drawings of any animated, imaginary, or anthropomorphic character

that does not fit into the People classes. Sources include comics, cartoons,

commercial advertisements, etc. Examples are Mickey Mouse, Popeye, Reddy

Kilowatt, and Frosty the Snowman. For awards that specify identifiable

characters, buttons must depict the specific character, not just a representation

from a broader group. For instance, just any beagle does not qualify as Snoopy.

Caricatures of humans, such as Halloween witches, Santa Claus, stick figures,

etc., are appropriate here. Actual people such as Saint Nicolas belong in the

People classes.

20- 4 Children. All non-adults. Awards may specify approximate age of

children desired, e.g., no babies, toddlers or teens. Mothers may accompany

children unless excluded by the award.

20- 5 Cupids, cherubs. Representation of a beautiful winged child or winged

head; an art convention from the Renaissance through the Victorian period. The

child form, either clothed, partially clothed or nude, usually has feather wings but

any naked child is considered a cherub or cupid. Wingless cherubs are

sometimes called putto (singular) or putti (plural) in Italian. Cupids must have

a bow and arrow, torch or other accouterment.

20- 6 Egyptian subjects. Predominant subject matter is limited to this section.

Animals, plants, objects and symbols may be included only if the appropriate

section(s)/class(es) are specified in the award.

20- 7 Fabulous creatures. Mythological (imaginary) animal/human-like

creatures without separate class(es) of their own. Creatures may be unique

(dragons) or incorporate features from more than one being (griffins, centaurs,

mermaids, etc.). Some allowances are necessary for artistic interpretation.

20- 8 Fops. Incroyables (males), and Merveilleuses (females), depicting the

excesses of French aristocratic costumes around the end of the 18th Century.

20- 9 Gnomes, fairies, sprites. Tiny imaginary creatures in human form from

folklore. Fairies sometimes have butterfly-type wings. According to legend,

gnomes wear pointed hats.

20- 10 Heads. Includes heads and busts to the waistline only.

20- 11 Lovers/couples. One man and one woman only, depicting an apparent

or implied personal relationship. Young children are not appropriate here.

20- 12 Marine scenes. Scenes depicted on or in view of a large body of water.

May include lighthouses, ships, bridges, shoreline structures, etc. Underwater

environments are not included here.

20- 13 Men. Mature males, includes full figures and heads. Basic rules under

People class apply here also.

20- 14 Musicians with instruments. Includes mythological creatures in human

form as well as humans.

20- 15 Mythological. Classical subjects based on stories of heros and gods of

ancient cultures (Greek, Roman, Nordic, etc.). Oriental and Egyptian

mythological subjects may be used here or in their specific classes.

20- 15.1 Minerva. The daughter of Zeus, and goddess of battle, wisdom, and

handicrafts. Her Greek name was Athena.

20- 16 Oriental subjects. Predominant subject matter is limited to this section.

Oriental animals, plants, objects, and symbols may be included only if

appropriate section(s)/class(es) are specified in the award.

20- 17 Pastimes, games, sports. Buttons should depict people in action.

Sporting equipment only (golf clubs, tennis racquet, etc.) are appropriate in Sec.

18 Objects. A horse and rider jumping is appropriate; a saddled horse alone is

not.

20- 18 People. Includes all people related classes, e.g. Children, Men, Women,

Fops, Musicians, Oriental (as appropriate), etc. Awards may specialize by

choosing the individual classes desired, e.g., Women and Children only. The

following basic rules apply to the individual classes (e.g. Heads) as well as to the

broader People class. Unless award is specialized to identified people,

mythological creatures in human form from stories or other imaginative sources

are eligible here. Unless excluded by award, animals may be present as long as

humans are prominent.

20- 19 Religious. Includes all major religions. Some symbols such as a cross

or star of David are acceptable.

20- 20 Stories. Depicts any narrative or description of an event, fiction or nonfiction,

i.e., poetry, mythology, religious, fable, etc.

20- 20.1 Fables. A story with a hidden meaning or moral. Characters are

usually animals, plants, or even inanimate objects, credited with human-like

attributes. All fables are stories; all stories are not fables.

20- 21 Theater, opera, circus. Since many plays and operas are based on

earlier literature and folk tales, many story buttons fit here also. Unless excluded

by the award, buttons with circus themes are appropriate here.

20- 22.1 Transportation - human. Includes inanimate (non-living) modes of

human transportation with or without human passengers (a cycle, airplane or

car and driver) as well as living transportation in action with a human

passenger (horse or camel with rider, etc.). An animal without a rider is not

appropriate here but belongs in Sec. 17, Animals. A pedestrian does not depict

a "mode" of transportation.

20- 22.2 Transportation - non-human. Includes fanciful picture buttons

depicting unlikely subjects (animals, cherubs, etc.) riding on unusual modes of

transportation (insects, fish, birds, fabulous creatures, etc.).

20- 23 Women. Mature females, includes full figures and heads. Basic rules

under People class apply here also. May be accompanied by a child unless

excluded by award.

20- 24 Unlisted. Includes atmospheric topics (lightning bolts, raindrops, clouds,

rainbows), individual zodiac subjects, etc. Zodiac sets are appropriate in Sec. 27.

SECTION 21 - PICTORIALS SUMMARY

SECTIONS 17 THROUGH 20

Refer to page 25 for the required number of buttons from each section.

Judging is based on the subject matter without further consideration as to the

number of classes represented in each section. Listed and unlisted objects (Sec.

18) receive equal credit. Buttons shall be labeled with class numbers and

mounted in numerical order. Unless limited by the award, 18th century and studio

buttons may be used if appropriate for the division.

SECTION 22 - PATTERNS, SYMBOLS

22- 1 Patterns assorted. Patterns consist of single or multiple basic design

units. Buttons in the shape of a pattern are acceptable, e.g., star, heart, fleur-delis,

snowflake, etc.

22- 1.3 Diaper. An all-over pattern of small closely set evenly repeated

geometric and/or conventional designs.

22- 1.4 Filigree. Refer to page 77, Pierced/openwork.

22- 1.9 Paisley. All paisley patterns have the comma shape, sometimes called

a “ cone”, with a curled or forked tail. May contain such elements as ornate

decorations, mostly based on botanical decor such as flowers, vines, etc., and

an ornate border. Includes 1) a singular design on the surface of a button, 2)

a button shaped like the paisley, and 3) multiple designs on one button. Yin

Yang motif not appropriate here.

22- 1.14 Wallpaper. An all-over pattern of repeated tiny images, usually of a

pictorial nature (animals, objects, plants, other pictorials, or combinations of

two or more of these subjects). The pattern is not centered and often extends

to the rim or over the edge with some of the images cut off. May be found in

different shapes and materials (metal the most common); rimmed or mounted

in metal. Buttons may be different shapes. May also be used in appropriate

pictorial sections.

22- 1.15 Unlisted. Includes Pinwheel: 1) a center point with 4 triangles

radiating out from it like a child’s toy. 2) many curved lines radiating from the

pinpoint-like center of the button. Spiral: a center point with one continuous

line going round and round from the center to the outside of the button. Quilt:

pattern imitating quilt designs. Rounded corners are acceptable.

22- 2 Symbols assorted. Includes verbal, numeric, symbolic pictorials, and

combinations, (rebus). A design that stands for or represents another thing, e.g.,

a dove represents peace - a symbolic meaning. Yin Yang is acceptable here as

well as in Patterns. Pictorial symbols and rebus buttons shall be labeled.

SECTION 23 - SPECIFIC TYPES

Includes classes of buttons based on their overall type/technique/assembly.

23- 1 Backgrounds assorted.

Refers to buttons of a composite nature that are usually, but not always,

mounted in metal and have a separate contrasting material serving as an

unimposing visual background for the entire design. Most backgrounds are flat,

but may be contour as long as the rim of the mounting encloses the edge of the

background material. When mounted in metal, the background material is the

"base" material, not other material embellishment (OME). May include some

designs under glass (fabric or foil behind cut-out ivory under glass, etc.).

Backgrounds half obscured by the designs are acceptable. Buttons with

prominent center escutcheon type designs are acceptable if other criteria are met.

Buttons with a cut out design, backed by fabric or other material, are also

acceptable, as are backgrounds that are sew-throughs. Protrusions are not

appropriate here.

23- 1.4.1 Screen. Div. I. The background is made of screen. Does not

include “screenback”, an openwork metal button.

23- 1.4.2 Twinkle. A highly reflective metal of silver, gold, or other color,

serving as a background for the central design (not just the border), placed

behind a cut out design in contrast with, or as an enhancement to, the design.

23- 1.6 Wood. Includes woven wood backgrounds as well as single piece.

23- 2 Back marks assorted. Maker’s name, brand, patent, quality mark, etc.

May be verbal or pictorial in nature. Not to be confused with back types.

23- 2.2 Golden Age. Div. I. Refer to page 48. Atypical Golden Age buttons

such as pearl or black glass mounted in metal are appropriate here, but not in

Sec. 10.

23- 2.4 Paris/French. Any back mark indicating the button was made in Paris

or France.

23- 3 Back types assorted. The means of fastening the button. Both sew-throughs

and shank types are included here. Double shanks on a button are

appropriate only if the shanks are far enough in from the edge and close enough

together to function as a button. If shanks are close to the edge, the item is

considered costume trim and belongs in Div. IV. Center-shank buckles are

acceptable as buttons whether or not buckle parts are present. Overall wobble

and riveted shanks are acceptable. Studs belong in Div. IV. Common sense and

benefit of the doubt should prevail. Refer to page 5, mounting requirements.

23- 3.1 Cone shank. Metal or glass buttons with metal loop shank embedded

in cone-shaped buildup on the center back.

23- 3.2 Rosette shank. A six-petal shaped plate supporting a loop shank.

23- 3.3 Sew-through. Buttons have holes front to back for the purpose of

sewing them onto a garment. Included are china igloos and some Dorset

buttons.

23- 3.3.1 Whistle. A sew-through button, of solid or hollow construction,

with a single vertical hole on the front (small in diameter) and two or more

holes on the back. Bottom holes are not fully visible from the top of the

button.

23- 3.4 Thread back, pad back. Div. I. Threads crisscross on the back or a

pad of canvas-like cloth protrudes through a center hole in a metal back.

23- 4 Borders assorted. That portion of a button’s face design which lies

between the center and the outer edge. It may be any width, but it must "border"

a plain or decorative center of any size or shape. Refer to May 1999 NBS

Bulletin.

23- 4.1 Border Shapes. Refers to the shape of the border, not necessarily the

button shape.

23- 4.2 Construction. 1) outer surface (surface of the button that extends from

the decorative or plain center to the outer edge), 2) frame (has parts fitted

together for enclosing something e.g., picture frame). 3) rim (a separate band

around the outer, often curved, edge of the button that usually holds the front

and back together). 4) edge (where the surface of the button ends, i.e., the outer

margin, that may be plain or decorative) and 5) interrupted (a border with a

break in uniformity or continuity). Any of these five methods could include

pierced or carved.

23- 4.4 Designs. Pictorial includes Secs. 17 through 20, and non-pictorial

includes symbols, conventional, etc.

23- 5 Combined materials. Two or more materials per button. Different

metals, ceramics, shells, and plastics are considered different materials. A

prominent metal mounting (included as part of the button design) is considered

one of the materials.

23- 6 Construction types/techniques assorted. Sub-classes are listed

according to unique construction techniques and may include buttons made of a

variety of materials.

23- 6.1 Austrian tiny. Div. I. Multi-piece metal buttons, not more than 1/2" in

diameter, usually cup shaped and often embellished with another material. The

cup may be deep or shallow, as to be almost flat, but the top piece (often

holding the decoration in place) is always folded over the cup.

23- 6.2 Bimini. Div. III. A distinctive style of button resembling a wax seal,

usually, but not always made of glass. They typically have metal backs.

23- 6.3 Gay ninety. Div. I. A large size button, giving the overall impression

of high quality, characterized by: 1) an ornate metal mounting (one or two-piece

construction) 2) single or multiple glass imitation gemstones with size or

number not as important as the interplay with the mounting. The “gems” may

be transparent or opaque, colored and/or black glass, faceted or cabochon

shaped. Buttons may be embellished with cut steels, pastes, etc. Enamel

decorative finish (DF) is acceptable. Rarely pictorial.

23- 6.4 Lithograph. Not a material, but a technique using absorption and

repulsion to create an image inked on a smooth surface. Multiple colors

require individual ink application. Lithos may appear slightly grainy, with dot

patterns used to create shading. The technique is used on paper, porcelain, and

occasionally, celluloid. They are often covered by a glass or celluloid shield.

23- 6.5 Mechanical/movable. Buttons with parts that are meant to move, either

by hand or motion, without disassembling the button. Buttons with tops that

unscrew are acceptable. Having part(s) that can be moved doesn’t

automatically make the button mechanical/movable. For instance, although

dangling beads are acceptable, beads sewn or woven loosely into the design are

not appropriate here. Hologram types are appropriate only in Sec. 23,

Unlisted.

23- 6.6 Protrusion. The button face is perforated with a different material

“protruding” up through the surface holes. Includes all materials.

23- 6.7 Snap-together. Div. III. Refer to page 53. Includes all materials.

23- 6.8 Waistcoat/vest. Div. I. Small buttons with heavy round, rosette or

elongated shanks worn primarily on men’s waistcoats. These may or may not

be mounted in metal and include many assorted materials.

23- 7 Inlay and related techniques assorted. Sub-classes are listed according

to technique (impression, insertion, mosaic, etc.).

23- 7.1 Flecks. Tiny bits of tinsel, pearl, etc., embedded in the surface of the

button. Buttons with flecks in addition to other designs (pearl or metal inlay)

are not appropriate here.

23- 7.2 Impression Inlay. Technique used on materials that soften when heated

(glass, horn, plastics, etc.). Pliable base material is molded around the firm

inlay material or inlay is pressed into the base material. Includes “metal

embedded” glass.

23- 7.3 Insertion inlay (including precision inlay, inset, etc.). Both base and

insertion material(s) are in a solid state when joined. The base material is

either molded or cut to accommodate the inlaid piece(s). The two major types

are Precision and Inset. 1) Precision inlay. Feeling almost seamless, the

inserted material either fits precisely or is ground down level with the button

surface. Examples are found in glass, wood (intarsia, parquetry and

marquetry), and hard stone (pietra dura). 2) Inset: Pieces shaped to fit and

inserted into depression(s) in the base. Not polished off flush, so inset(s) may

appear above or below the surface. Example: Shibayama: Mother-of-pearl,

ivory, coral, horn and other materials inserted into an ivory or wood base.

Other examples of insertion inlay include bidri and damascene metalwork.

Refer to page 49, Inlay/overlay.

23- 7.4 Laminate. Visible layers of material (wood, plastic, celluloid, etc.) of

differing colors and/or texture bonded together and then cut as a single unit.

Layers may be visible horizontally or vertically.

23- 7.5 Mosaic. Tiny bits (tesserae) of diversely colored materials (usually

glass) set tightly together into a base (typically black, colored glass or

goldstone) to create a design; most are mounted in metal.

23- 7.6 Veneer/inlaid veneer. A thin layer (veneer) of material is cemented onto

a base (often a different material). The veneer covers the entire face of the

button; the base is only visible when viewed from the side or edge. Inlaid

veneer: A veneer inlaid with multiple pieces of contrasting material(s) to form

a design and glued to the base. Most are impression inlaid. Inlaid tortoise

veneers are often adhered to plain horn bases. Materials include multiple

woods, colorful shells and tortoise shell with bases of wood, composition, bone

or celluloid.

23- 8 Matching pairs. Award may specify pairs of buttons identical except for

NBS size. Refer to page 6, Matching pairs, for size requirements. Occasionally

an element of the design is omitted on the smaller button due to size constraints.

This is acceptable.

23- 9 Materials mounted in/on metal. Includes all materials mounted in/on

metal. Includes specific types such as waistcoat/vest buttons and drums. Refer

to page 75, Materials mounted in/on metal, and page 73 for Drums.

23- 10 Shapes assorted. There are 3 basic shapes: contour, linear, and realistic.

Although they may be appropriate in more than one shape class, e.g., realistic

shapes are linear and may be contour as well, buttons shall represent (and be

labeled as) only one shape at a time.

23- 10.1 Contour. Buttons with significant height. Includes berry, ball, cone,

cube and other chunky/bulky, concave, convex, etc., as well as those listed

below.

23- 10.1.1 Ball. (Including modified). A ball button is round (spherical)

except for the area of the shank (inserted metal shank, self shanked, etc.).

A modified ball may be 1) faceted. 2) somewhat flat on the bottom side, but

not as flat as a rounded dome. 3) slightly cut-off on the top. Embellishment

does not affect the shape of the button.

23- 10.2 Linear. Buttons without significant height. Includes round, square,

oval, scalloped, star, crescent, heart, etc., as well as those listed below. Tracing

around the outside edge of a button will indicate the linear shape.

23- 10.2.2 Square. (Including modified). A square button has four equal

straight sides and four right angles. A modified square may have slightly

curved sides, a slight variation of the four equal sides, and slightly rounded

or cut-off corners. Cubes are acceptable as squares and, as they are a

dimensional (contour) form, are equally appropriate in the Contour class.

Embellishment does not affect the shape of the button.

23- 10.3 Realistic. Button has the shape of and depicts/resembles something

found within the 4 pictorial sections. Buttons made of an actual object (sea

shell, pine cone, nut, real coin, etc.) are not acceptable. A waxing or waning

moon shape is considered a realistic as are the round circus, starred circle and

coin sets. Although not considered realistics, heart, paisley, star and snowflake

shapes may be used as linear shapes or patterns. Trays specialized entirely to

realistic shapes shall contain 30 buttons of any size unless otherwise specified

by the award.

23- 11 Studios assorted. Div. III. Buttons designed and fabricated primarily,

but not exclusively, for sale to button collectors. They are not mass produced,

but are hand-made in limited quantity and express the maker’s artistic creativity.

They may be the work of a single artist or a collaboration. Jewelry, craft pieces,

and natural objects (such as shell, walnut shell slices or stone) to which a shank

has been attached do not qualify. Buttons should be labeled as to maker and date

if possible.

23- 12 Unlisted. An award may be written for buttons with a common attribute,

e.g., buttons that fluoresce.

SECTION 24 - EIGHTEENTH CENTURY

24- 1 Ceramics. Includes porcelain (most are hand painted), pottery, and

Wedgwood. (All 18th century Wedgwood is set in another material such as pearl

or metal. Metal is the most common and may include gilt brass, copper, silver

and steel). Back types include self-shanks, hollow back, sew-through and pin

shanks.

24- 2 Enamel. Includes painted, (Staffordshire types, Chelsea, etc.), transfer

printed, grisaille (gray) or en-grisaille, basse-taille (the base metal is engraved,

chased or machined, then transparent enamel is applied enabling light to reflect

back from the metal surface), and plaquettes (enamel designs on discs placed in

a frame of metal). Enameling is found on gold, silver, brass and copper.

Decoration includes paillons (gold foil cutouts, glued to the enameled base, then

incased with transparent enamel), pierreries (small beads of enamel made to

imitate rubies, sapphire, pearls and emeralds, set in a visible foil cup to reflect

light), and paste (imitation diamonds in cut-down settings).

24- 3 Fabric assorted. Refer to page 37.

24- 3.1 Cloth covered mold (woven). Formed by placing fabric over a mold or

disk and drawing the back together with a series of stitches. The face of the

button may be worked with various stitching or knotting techniques such as

chain stitch, French knots, satin stitch, etc.

24- 3.2 Passementerie. Metallic thread worked to form a design. Buttons

consist of metallic foil with sequins, seed pearls, beads, paste, mirrored glass,

etc., attached to fabric or directly to a mold or disc. The button back may be

fabric or worked threads.

24- 3.3 Thread covered (wound). Formed by wrapping threads around a mold

or disk. The face of the button may be plain or patterned due to the use of

various colored threads.

24- 4 Materials mounted in/on metal assorted. Includes all materials mounted

in/on metal, including materials having their own sub-class numbers.

24- 4.3 Glass. Includes sulfides and/or reverse intaglio.

24- 5 Metals assorted. Includes all metals produced in the 18th century,

including but not limited to brass, bronze, copper, gold, iron, lead, nickel, pewter,

pinchbeck, silver, steel, tin, tombac alloys, and zinc.

These buttons may be manufactured or produced by a casting process (molten

liquid metal poured into a mold), a forging process (heating metal in a forge and

working into shape by hammering), or sheet metal (metal spread or made flat by

pressing with a roller or rollers).

Shank types include 1) alpha, a wire eye shank attached to the body of the

button by soldering or welding, 2) integral (cast), a shank/eye is formed in the

casting process of the same metal as the body of the button, 3) wedge (cast), a

wedge formed in the casting process is drilled to produce an eye after the button

is removed from the mold, 4) embedded, a pre-formed wire shank is placed into

the mold into which molten metal is poured gripping the foot of the wire (the wire

shank may or may not be the same metal as the body of the button), 5) swaged,

a preformed shank with a square or roundish base that is forced into a hole in the

back of the button, and 6) pin shank, a wire goes through the body of the button

to form a small rivet head or is attached to a metal cap which may contain various

embellishments. The other end of the wire is looped to form the shank.

Finishes and embellishments include washes, dips, plating, painting, engraving,

chasing, punch work, piercing, separately attached rims or medallions or plaques

of various materials such as glass, ceramics, pearl/shell, steel, pewter, enamel,

etc.

24- 5.1 Copper colored. Includes all copper colored buttons. Sheffield plate

belongs here as it is silver clad copper. The layers of silver may be on one or

both sides of the button body, but the copper will always be visible along the

edge.

24- 5.2 Silver. Must have the maker’s and/or quality mark which historically

guarantees the amount of silver. All other silver-appearing buttons go under

white metals.

24- 5.3 Steel/iron. Finishes and embellishments: The face of the button may be

painted, blued, pierced, or embellished with hammer work and/or faceted

rivets, pearl/shell, glass, paste, ceramic, etc., attached by various means. A rare

example of a cast or stamped button is the Alston Patent. Refer to the

September 1959 NBS Bulletin page 205. Note: Millegrain (French word

meaning 1,000 bumps) or intricately stamped buttons do not belong in this

section.

24- 5.4 White metals. Includes all buttons made of white metal (appearing

white or gray). Tombac types that appear pale yellow (disregarding any

surface coating of white metal) belong under yellow metals. Any unmarked

silver alloy button of unknown silver content belongs in this class. Medium

size (3/4") “hard whites” are not 18th century.

24- 5.5 Yellow metals. Includes all buttons made of yellow metal (appearing

brass colored). Pale yellow tombac types often have a white metal coating

which makes them look white on the surface. The white tin coating is usually

more or less worn away; only rarely is it so complete as to mask the color of

the alloy of which the body of the button is made.

24- 7 Pearl/Shell. Pearl (iridescent) buttons of this period are white oyster shell.

Shell (non-iridescent) used in this era was conch (which ranges from pink to

white), or rarely helmet (cameos). Shanks are pin or swaged. Working methods

include engraved or pierced. Embellishments may include pearl/shell, copper,

silver, pewter, steel, ceramic, glass, paste, enamel, etc. The button back may

have a metal disc with or without a metal rim. Shapes are round, oval, multisided

or scalloped. “Colonial Pearls” are not 18th century.

24- 8 Repoussé metal assorted. Relief decoration is formed by hammering one

side. British records refer to this type as “shell” or “capped”, meaning covered.

This class replaces the former wood and bone back grouping. Buttons are of two-piece

construction formed by a thin metal cap crimped over a disk or mold made

of wood, bone, ivory, metal, worked thread, or rarely, horn. Wood, bone, ivory,

or horn backs have three, four, or five holes with catgut or thread looped through

the holes or one hole with a wire eye shank. A metal disk back may be flat or

slightly convex with single, crossed, or two parallel wire shanks or holes looped

through with catgut. A worked thread back consists of a disk of bone, ivory, or

metal with a large center hole surrounded by a series of small holes near the edge

through which the thread is worked. (Refer to January 1948 NBS Bulletin, page

25.) These are also appropriate in Divs. I and IX in horn, wood and other

material sections depending on the button back.

24- 9 Under glass assorted. In addition to the materials listed below, this class

includes wax moldings, bread dough, plaster of Paris, metal, etc. It does not

include Jacksonian type rims.

24- 9.1 Fabric. Includes fixe paintings done in oils on silk and varnished.

These are often scenes with tin backs. Fixe: Oil painting done on silk and

covered closely with glass.

24- 9.2 Habitat. Insects, flowers, seaweed, shells, etc., preserved to create

scenes or designs. Feather work depicts flora and fauna, usually using a

molding of wax to form the depiction, then embellished with real feathers.

24- 9.3 Ivory. The most common decoration of ivory under glass is painting in

miniature including grisaille (white paint on a dark background giving a

sculpted/shaded effect), polychrome, sepia, and Faux Bois (imitation wood

grain). Also includes cut-out designs and Tromp L’oeil (dimensional realistic

painting).

24- 9.4 Paper. Includes painting with oil, watercolor, cut-outs, collage,

decoupage, etc.

24- 9.6 Reverse painting. Includes opaque or transparent paint, wash, and pen

and ink on back of glass shield. Background materials include foil, pearl, mica,

metal, etc.

SECTION 25 - USAGE, NON-MILITARY

25- 5 Initials, monograms. Includes non-livery buttons only.

25- 6 Livery assorted. Typically depicting heraldic designs of the family, livery

buttons were worn on uniforms (livery) of servants and only occasionally by the

owner. Major types include achievements, and crests; there are also badges,

initials and monograms. Badges are a relatively rare early form of livery button

originally used to display a family motto. Later ones displayed decorative

insignia only. Badges do not meet the heraldic requirements of crests or

achievements. Most livery buttons were made of metal, but horn, pearl, and glass

mounted in metal exist. When the master of the house died, metal buttons were

darkened for a period of mourning.

25- 6.1 Achievements, coats of arms. Crests (portions of coats of arms) are not

applicable here.

25- 6.1.2 Lozenges. Characteristically diamond shaped, these were livery

buttons designed for women. The unmarried lady’s was straight sided

depicting a portion of the family achievement from her father’s line. The

widow’s lozenge was a modified diamond with a portion of the achievement

of her father and her husband.

25- 6.2 Crests assorted. A livery button which bears a single, double, triple, or

quadruple crest device. A crest device is comprised of a crest figure over a

crest coronet. The crest coronet may be 1) a torse (heraldic wreath of colors),

2) chapeau (cap of dignity), or 3) a figural coronet (crown). This coronet,

which merely denotes association with a person of rank, should not be confused

with an actual coronet of rank (see below). A crest design may include the

family motto, collar of one of the orders of knighthood, fancy border, helm of

rank, initials, or coronet of rank. A crest cannot include any other part of the

achievement, such as the coat of arms or supporters.

25- 6.2.2 Coronets of rank. Different from the crest coronet, the coronet

of rank appears in addition to (and usually above) the crest device. This

coronet denotes the rank of the bearer.

25- 6.2.4 Helms of rank. A helm is present in addition to the crest. The

helm may be positioned in profile, partial profile, or frontal.

25- 6.2.6 Initials, monograms. A crest button bearing either initials or a

monogram (2 or more initials conjoined).

25- 6.2.8 Objects. Includes animal and human body parts (except hands

and arms).

2 5- 6.3 Initials, monograms. A livery button (non-crest) bearing either initials

or a monogram (2 or more initials conjoined).

25- 7 Overall assorted. Buttons made for men’s work clothing during the early

20th century. They are 2-piece metal construction with wobble or riveted shanks.

Some are pictorial, some captioned only, some have both designs. For more

information refer to the latest NBS Pictorial Overall Buttons handbook.

25- 8 Political campaign. Div. I. Buttons with candidate's names and/or

pictures and/or symbols for a specific election are appropriate in this class.

Buttons representing an on-going political organization (i.e., Republican or

Democratic Club) belong in Div. II, Sec. I, under Societies.

25- 11 Sporting. Buttons worn by gentlemen on their jackets (hunting coats).

Commonly found in sets, early sporting buttons depict game, hunting dogs and

hunters, as well as other sporting activities such as boxing, fishing, etc. Materials

include metals, horn, pearl, ivory, and enamel. Modern versions are plentiful and

typically feature golf, tennis or skiing designs.

SECTION 26 - COMPLETE SUMMARY

SECTIONS 1 THROUGH 25 EXCEPT 3, 16, AND 21

Materials sections (1 through 15) and pictorial sections (17 through 20) are

considered separately and there is no penalty for duplication of materials if they

are used for different representations. However, extra credit may be earned by

using different materials to represent the pictorial sections or vice versa. No

more than approximately two-thirds of the total number of buttons, representing

all sections, shall bear pictorial designs. Excluded are Secs. 3 (chinas may be

represented in Sec. 2, Ceramics under unlisted), 16, and 21 (material and pictorial

summaries). All buttons shall be labeled as to the class they represent, and be

mounted in numerical order.

SECTION 27 - PAIRS/SETS (revised effective 2008)

A set is typically 3 or more non-identical buttons (with a common theme) sold

on the same card commercially, made of the same material, decorated in like

manner. Set must be complete and color must reflect the set as originally

marketed. Note that "series" of buttons are not sets. These are groups of related

realistics, e.g. the JHB Beatrix Potter buttons, sold sequentially on separate store

cards. The size/number rule does not apply in this section. Each class carries its

own limitations. For examples of realistic sets, refer to Feb., July, and Oct.

1998 NBS Bulletins, "Realistics Approved Sets”. Also refer to lists of approved

vintage realistics in NBS Bulletins from May, 1954 through November 1968,

articles published in the NBS Bulletins since 1968, and original store cards.

27- 5 Related Pairs. A related pair is two non-identical buttons designed and

marketed as such. They may or may not be realistics. This class is not to be

confused with Matching pairs (refer to page 62) which are identical buttons of 2

different sizes. Two buttons from a larger set or 2 buttons from a "series" are not

considered a related pair.

27- 6 Zodiac. Div. III. The signs of the Occidental zodiac include: Aries the

ram, Taurus the bull, Gemini the twins, Cancer the crab, Leo the lion, Virgo the

virgin, Libra the balance, Scorpio the scorpion, Sagittarius the archer,

Capricornus the goat, Aquarius the water bearer, and Pisces the fishes. The

Chinese zodiacal signs include: rat, ox, tiger, hare, dragon, serpent, horse, sheep,

monkey, hen, dog and pig. Both occidental and oriental sets are recognized.

Generally, an entry shall consist of 3 sets of 12 buttons each but an award may

specify a single set of 12 extra-large buttons.

©2008   National Button Society  

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