Dead Salmon 28  

Dead Salmon 28: 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. Red & Warm Tones undercoat.

   
Yellow Ground 218   Yellow Ground 218: One of our yellow wallpaper ground colours. White &FOLL Light Tones undercoat.
     
Pavilion Gray 242   Pavilion Gray 242: 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. Mid Tones undercoat.
     
Cream 44   Cream 44: A classic colour based only on the addition of yellow ochre and in this case a little lamp black. Mid Tones undercoat.
     
Brassica 271   Brassica 271: An aged darker version of Calluna™. This colour comes alive when combined with Calluna™ or Pelt®. Dark Tones undercoat.
     
Ball Green 75   Ball Green 75: An old fashioned distemper colour from the Farrow & Ball archives. Mid Tones undercoat.
     
Blue Gray 91   Blue Gray 91: A bluer version of French Gray™.  This colour will appear bluer in well lit rooms. Mid Tones undercoat.
     
Blue Ground 210   Blue Ground 210: A blue wallpaper ground first used in our Damask collection. Dark Tones undercoat.
     
Bone 15   Bone 15: As woodwork for strong colours or to simulate stone when combined with Lime White™. Mid Tones undercoat.
     
Breakfast Room Green   Breakfast Room Green: This colour is lively both by day and candlelight. Mid Tones undercoat.
     
Cat's Paw 240   Cat's Paw 240: Stronger in colour than its counterparts String® and Cord®, this is a good yellow-based neutral. Try alongside darker reds and warm blues. Mid Tones undercoat.
     
Chappell Green 83   Chappell Green 83: This colour will at times read green, at other times blue, depending on  which colours are put with it. Mid Tones undercoat.
     
Charleston Gray   Charleston Gray: The Bloomsbury Group used this colour extensively, both in interior decoration and on canvas. Dark Tones undercoat.
     
Churlish Green   Churlish Green: This yellow-green colour has been used decoratively for centuries, both on its own and as a ground beneath patterned wallpapers. Good contrast to Tanner’s Brown®. Dark Tones undercoat.
     
Cinder Rose 246   Cinder Rose 246: Contains no more than a hint of the yellow pigment found in many common pinks. Mid Tones undercoat.
     
Citron 74   Citron 74: A 19th century trade name for a strong fairly acid yellow. White & Light Tones undercoat.
     
Cooking Apple Green   Cooking Apple Green: An old fashioned green made from common earth pigments. Mid Tones undercoat.
     
Cord 16   Cord 16: A lively warm colour to put with natural materials. Mid Tones undercoat.
     
Cornforth White   Cornforth White: In memory of John Cornforth, architectural historian and author of the landmark publication ‘English Decoration in the 18th Century’. White & Light Tones undercoat.
     
Dix Blue 82   Dix Blue 82: A cleaner, less green version of  Green Blue™. Mid Tones undercoat.
     
Dove Tale 267   Dove Tale 267: 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. Mid Tones undercoat.
     
Elephant's Breath   Elephant's Breath: An interpretation of this famously named colour by John Fowler. Use as a colour in its own right, or as part of a ‘stone’ scheme. Mid Tones undercoat.
     
Fawn 10   Fawn 10: An often used colour in 18th and 19th century decorating for both walls and woodwork. Mid Tones undercoat.
     
French Gray 18   French Gray 18: This colour will at times read green, at other times blue, depending on  which colours are put with it. Mid Tones undercoat.
     
Green Blue 84   Green Blue 84: This colour will at times read green, at other times blue, depending on  which colours are put with it. Dark Tones undercoat.
     
Hardwick White 5   Hardwick White 5: The colourway used to touch up old white limewash at Hardwick Hall. Probably not thought of as white except in large areas or with dark strong colours. Mid Tones undercoat.
     
Hay 37   Hay 37: Named after the historic Dorset town in which John Farrow and Richard Ball founded Farrow & Ball.
     
Lamp Room Gray   Lamp Room Gray: A match to the original white which had dirtied down due to the trimming of lamp wicks. Mid Tones undercoat.
     
Lichen 19   Lichen 19: Quieter and subtler than Olive™ for well lit rooms. Dark Tones undercoat.
     
Light Blue 22   Light Blue 22: If you wish for a slightly light blue room this, rather than the more obviously blue blues, is the one to try. Mid Tones undercoat.
     
Light Gray 17   Light Gray 17: A stone colour, particularly successful when combined with Shaded White™ or Mouse’s Back®. Mid Tones undercoat.
     
London Clay 244   London Clay 244: A charming warm brown, which works well as a colour in its own right. Dark Tones undercoat.
     
London Stone 6   London Stone 6: John Sutcliffe’s colour taken from a Nash house in Regent’s Park. Mid Tones undercoat.
     
Lulworth Blue 89   Lulworth Blue 89: A clean mid-tone Regency blue. Dark Tones undercoat.
     
Manor House Gray   Manor House Gray: A traditional 18th century colour. A definite grey which also sits happily in contemporary interiors. Dark Tones undercoat.
     
Mizzle 266   Mizzle 266: A soft blue grey reminiscent of a west country evening mist. The blue will become more intense when painted in a smaller room.  Mid Tones undercoat.
     
Mole's Breath   Mole's Breath 276: A drab that can be used with all Farrow & Ball neutrals.  Less red than Charleston Gray, less green than Mouse's Back and less blue than Plummett this contemporary shade works well with the trend to combine rich colours.
     
Mouse's Back 40   Mouse's Back 40: A quiet, neutral dark stone or drab colour. Dark Tones undercoat.
     
Nancy's Blushes   Nancy's Blushes 278: This true pink holds real charm.  Perfect for use in both contemporary and more traditional settings it is best contrasted either with All White or Black Blue.
     
Old White 4   Old White 4: This colour will look white in almost any ‘old’ situation. Mid Tones undercoat.
     
Parma Gray 27   Parma Gray 27: John Fowler’s name and colour sample, though surely based on 1830s and 1840s schemes. Mid Tones undercoat.
     
Pigeon 25   Pigeon 25: Based on late 18th and 19th century paint sections. Dark Tones undercoat.
     
Plummett 272   Plummett 272: A lighter version of Down Pipe®, imitating lead. Appropriate for interior as well as exterior use as often seen in Gothic architecture.  Dark Tones undercoat.
     
Purbeck Stone   Purbeck Stone 275: A stronger neutral which resembles the stone found in the isle of Purbeck.  Works perfectly with Ammonite and Cornforth White and acts as a natural foil for Farrow & Ball's reds and greens.
     
Red Earth 64   Red Earth 64: A paler version of Terre d’Egypte™.  Red & Warm Tones undercoat.
     
Savage Ground   Savage Ground 213: A wallpaper ground colour favoured by Dennis Savage, a block printer par excellence. Mid Tones undercoat.
     
Smoked Trout 60   Smoked Trout 60: A paler, less coloured version of Dead Salmon®. Mid Tones undercoat.
     
Teresa's Green 236   Teresa's Green 236: Just lighter in tone than the popular Green Blue™, this colour is also slightly warmer. Dark Tones undercoat.
     
Vert De Terre 234   Vert De Terre 234: This green is reminiscent of the pigment green earth. Darker and cooler than Cooking Apple Green® yet fresher and less gray coloured than Ball Green®. Mid Tones undercoat.