Farrow & Ball's cleanest and whitest white - it will bring a freshness to any colour. White & Light Tones.
Named after the historic Dorset town in which John Farrow & Richard Ball founded Farrow & Ball.
Named after the colour of lime pointing used in traditional brickwork.
A soothing but fresh off-white with underlying green.
As in the chalk stone building blocks used in East Anglia. A very versatile off-white.
Just darker than Off-White and lighter than Old White. This can also be used as a light 'drab' colour.
The white of old, pre-brightened, starched cotton.
Lighter and warmer than the much used Off-White. An ideal white for use with some of the brighter colours.
Mostly used as a warm wall colour with lighter, cooler woodwork and ceiling whites.
A pale earth pigment based colour can be used either as an off-white with brighter colours or as its own colour with a brighter white.
A wallpaper ground colour favoured by Dennis Savage, a block printer par excellence.
A lively warm colour to put with natural materials.
A light off-white with a yellow tint.
Similar to Off-White but with greater warmth.
A light yellowed off-white.
Farrow & Ball's original cream.
A classic colour based only on the addition of yellow ochre and in this case a little lamp black.
Stronger in colour than its counterparts String and Cord, this is a good yellow-based neutral. Try alongside darker reds and warm blues.
Most used as a wall colour in its own right with All White or Pointing on woodwork and ceilings.
For devotees of Off-White, this colour though just darker, has none of the coolness or perceived greenish nature of Off-White.
this colour would normally be seen as a buff and not an off-white
The perfect combination with London Stone for a warm interior.
John Sutcliffe's colour taken from a Nash house in Regent's Park.
A paler, less coloured version of Dead Salmon.
A very successful off-white for woodwork with strong colours or as a wall colour used with many of the other whites, both lighter and darker.
The colour of untinted brightest white limewash or soft distemper.
Paler than Old White with which it could be used as a picking-out colour.
This colour will look white in almost any 'old' situation.
A stone colour, particularly successful with combined with Shaded White or Mouses Back.
A quiet, neutral dark stone or drab colour.
A delicate fresh white which is extremely versatile.
A bright, clean white when used with dark colours. Or if used with light colours it becomes cool.
The colour of fossils found on the Dorset coast.
In memory of John Cornforth, architectural historian and author of the landmark publication 'English Decoration in the 18th Century'.
A stronger neutral which resembles the stone found in the Isle of Purbeck.
The name Moles Breath speaks for itself – linking in with the fantastically popular Elephant's Breath but reflecting the beautiful colour of a mole’s coat.
One of our beige wallpaper ground colours.
An often used colour in 18th and 19th century decorating for both walls and woodwork.
As woodwork for strong colours or to simulate stone when combined with Lime White.
As the name suggests, also much used in 19th century wallpapers.
The colourway used to touch up old white limewash at Hardwick Hall.
LAMP ROOM GRAY
A match to the original white which had dirtied down due to the trimming of lamp wicks.
Historically made with the addition of 'lamp black', a pigment made by collecting the residue from burnt lamp oil.
A cool gray to complement Pavilion Gray and Blackened. The colour of twilight according to West Country dialect.
A lighter, less blue version of Lamp Room Gray, reminiscent of an elegant colour used in Sweden in the late 18th century under Gustav III.
A soft blue grey reminiscent of a west country evening mist. The blue will become more intense when painted in a smaller room.
A bluer version of French Gray. This colour will appear bluer in well lit rooms.
Based on late 18th and 19th century paint sections.
A highly versatile off-white, 'Skimming' refers to its original use as a 19th century skim colour.
An intepretation of this famously named colour by John Fowler. Use as a colour in its own right, or as part of a 'stone' scheme.
Some see this colour as a grey while to others it appears to be warmer and more stony. Typical of the colours used by the Bright Young Things between the wars.
The Bloomsbury Group used this colour extensively, both in interior decoration and on canvas.
A charming brown, which works well as a colour in its own right.
This deep aubergine colour originated as a 19th century estate colour.
A bright white but one which is neither 'yellow' nor 'cold'
A lighter, more delicate version of Pink Ground.
Contains no more than a hint of the yellow pigment found in many common pinks.
The lightest red of our wallpaper ground colours.
A definite pink in historical terms, this colour will reward those looking for a solid paint colour to reflect the colour of plaster.
The name comes from a painting bill for the library at Kedleston of 1805, though in fact analysis suggests that this colour was far less pink.
Colours like this one appeared regularly in country house anterooms and boudoirs from the 1870s on into Edwardian times.
Named after a mystery Nancy, this true pink holds real charm and is best contrasted either with All White or Black Blue.
A cleaner, less aged version of Eating Room Red. This is a strong red tempered by magenta.
A paler version of Terre d'Egypte.
PICTURE GALLERY RED
Based on the Picture Gallery at Attingham Park.
A rich crimson red, similar to the red gloss paint used by the late David Hicks at Barons Court in the 1970s.
Vermillion, as in Blazer, red was often made cheaper by the addition of red lead which blackens with age, so changing the colour to Rectory Red.
EATING ROOM RED
A deep red, popular around the middle of the 19th century and made possible with the discovery of new pigments. It is related to red damask colourings.
BOOK ROOM RED
To do the work of Picture Gallery Red Eating Room Red but in smaller rooms.
Joas White ideally complements the strength of this terracotta red.
Highly dramatic and extremely fasionable especially when combined with Railings.
A bright vermillion red similar to the colour of the sports blazer worn at St. John's College, Cambridge.
For the effect of Hound Lemon when used in smaller rooms.
Popular in the late 20th century, this sunny yellow has its origins in the England of the 1820s. A typical Soanian or Regency colour.
A classic bright yellow named to reflect the revival of the ‘homemade’.
A 19th century trade name for a strong fairly acid yellow.
One of our yellow wallpaper ground colours.
The brightness of this yellow will intensify any table
This John Fowler colour is best used in well lit spaces.
A bright but not excessively 'hot' yellow. An early 19th century colour. Mid Tones Undercoat.
A darker and more yellow version of Farrow's Cream.
An interpretation of John Fowler's wall colour for the staircase at Sudbury Hall, Derbyshire.
PRINT ROOM YELLOW
Farrow & Ball mixed this colour for an early restoration of an 18th century print room.
First available in England in the 18th century this pigment was produced by reducing the bright yellow urine of cows fed on a special diet of mango leaves.
A delicate pale yellowish green, this colour can be used with a clean white to maintain its clarity or against much darker colours to act as an interesting neutral.
One of our wallpaper ground colours based on Cooking Apple Green.
COOKING APPLE GREEN
An old fashioned green made from common earth pigments.
An old fashioned distemper colour from the Farrow & Ball archives.
As used in early 18th century panel rooms. A true earth green.
The best very dark colours often appear black on colour cards and only show their colour when painted on larger areas.
This yellow-green colour has been used decoratively for centuries, both on its own and as a ground beneath patterned wallpapers. Good contrast to Tanners Brown.
BREAKFAST ROOM GREEN
This colour is lively both by day and candlelight.
This is a colour based directly on a cleaned version of the breakfast room at Calke Abbey.
First used on the exterior woodwork of a stone castle. A good period green for exterior use.
CARD ROOM GREEN
For those who think this colour too drab, try with Fawn.
An uncertain green/blue/grey colour popular in the second half of the 19th century.
VERT DE TERRE
This is reminiscent of the pigment green earth. Darker and cooler than Cooking Apple Green, yet lighter and less stony coloured than Stone White.
Quieter and subtler than Olive for well lit rooms.
Just lighter in tone than the popular Green Blue, this colour is also slightly warmer.
A cleaner version of Green Blue.
This colour will at times read green, at other times blue, depending on which colours are put with it.
A green verdigris wallpaper ground colour
A delightful clean colour that takes its name from the distinctive wings of the Cabbage White butterfly
For the effect of Pale Powder when used in smaller rooms.
A pale, less coloured version of Teresa's Green.
This colour will at times read green, at other times blue, depending on which colours are put with it.
OVAL ROOM BLUE
A typical late 18th, early 19th century colour which appears time and again in historic schemes.
Indigo, as imported in the 18th century, came in lumps and hence was often known as 'stone blue
A perfect bedroom light blue wall colour, though it can also be used as a complement to darker colours.
A definite light blue, works with Parma Gray.
If you wish for a slightly light blue room this, rather than the more obviously blue blues, is the one to try.
John Fowler's name and colour sample, though surely based on 1830's and 1840's schemes.
A clean mid-tone Regency blue
A match to the Cooks Blue described in the Farrow & Ball book Paint and Colour in Decoration.
A blue wallpaper ground first used in our Damask collection.
ST GILES BLUE
A clean strong blue found in St Giles House at Wimborne St Giles
A strong definite blue made warm by te addition of magenta.
DRAWING ROOM BLUE
A traditional salon blue, this colours clean hue is reminiscent of the pigment cobalt, used by artists and discerning decorators ever since its discovery in the 19th century.
Reminiscent of the extraordinary colour of the mud found at Stiffkey beach, Norfolk
A strong blue, reminiscent of Dutch external woodwork.
A pretty heather colour
An aged darker version of Calluna. This colour comes alive when combined with Calluna or Pelt.
Darker and less red than Brinjal, the perception of this colour will vary greatly depending on what other colours are used with it.
MANOR HOUSE GRAY
A traditional 18th century colour. A definite grey which also sits happily in contemporary interiors.
A lighter version of Down Pipe, imitating lead. Appropriate for interior as well as exterior use as often in Gothic architecture.
A colour which imitates lead on exterior ironwork and helps lose plumbing against brickwork.
A very useful colour used to imitate mahogany both internally and externally and in place of graining.
Earth browns are the most timeless of decorative tones. Almost-black, equally suited to a loft apartment or historic house.
A dark bronze colour, suitable for exterior ironwork in place of the usual black.
This colour is definitely blue when painted in large areas. It is a blue version of Studio Green.
More flattering than jet black
A truer, more intense black than Off-Black. Articles