Patrick Baty: Historical Paint Consultant

Patrick Baty is a remarkable figure who bridges history and artistry, preserving the stories told through colour. His shop, Papers and Paints, inherited from his father, is no ordinary space—it is a treasure trove of pigments, documents, and hundreds of historic colour samples, almost like a living museum. This extraordinary shop, passed down as a cherished legacy, stands as a testament to tradition, expertise, and a shared passion for uncovering the vibrant past.

In addition to this, Patrick’s two published books The Anatomy of Colour and Nature's Palette further illuminate our understanding of the world through the lens of colour and history.

Explore the techniques and inspirations behind his process and gain a deeper appreciation for the expertise behind his work.

Patrick Baty, at his shop Papers and Paints

Photographed by Richard Sturges

How did you start your journey to becoming a historical paint and colour consultant?

Once I started working with my father at Papers and Paints, I began to research the pigments that we were selling in the form of oil colours – what were Prussian Blue & Naples Yellow, for example?  At the same time, I realised that I was not in a position to answer questions from customers seeking advice on suitable colours for their historic buildings. What sort of green did Robert Adam, or what sort of yellow did Sir John Soane specify?

Of course, the answer to the second question related to the pigments available at that time, as well as fashion. Having begun to understand this, I spent several years in the various specialist libraries – the National Art Library, the (old) British Library and the RIBA Library, in particular – tracking down and reading all the early works concerning paint and colour and their use in buildings.

After a couple of years research, I ended up undertaking a Degree by Independent Study – focussing on the 18th century housepainter, his methods and materials. Having completed that, I realised that having an understanding of the theory was one thing, but that I would have to learn how to carry out the forensic examination of paint.  I then attended various courses on microscopy and on pigments. Before long, I found myself being employed by the National Trust, Historic Royal Palaces and the Royal Household.  Coincidentally, each of my three early major projects involved fires in historic buildings. For over 35 years I have been carrying out the examination of paint in such buildings (fortunately, very few are fire-damaged).

Can you explain a bit about your process of paint analysis on historic projects?

I take samples of paint – including the substrate – from all representative elements within a room.  I also take check-samples to ensure that I haven’t missed anything. These samples are then mounted in a clear resin block with a unique number assigned to each one. These are cut and polished with a series of progressively finer abrasives until a smooth, clear surface is obtained. The samples are then examined under the microscope, and each is photographed under Plain and Ultra Violet light.

The next stage involves recording the stratigraphy of each sample on a spreadsheet and, once this is done, the layers are compared. Invariably, a pattern emerges, and one can see the number and type of layers and (with experience) various pigments become apparent.  This information is further compared with the known history of the building and with any earlier images or written descriptions.

Eventually, by a process of logic and the presence of key ‘marker’ pigments (those of known date of introduction) one can come up with a rough chronology for the schemes.  Sometimes, the supporting information is sufficiently useful that one has been able to date each layer in an 18th century house.  This, however, is very rare and one can usually just suggest possible dates for the various schemes. A report is then written with a step-by-step account of what has been found and what it represents.  Recommendations are also given.

Once you’ve found the original first layer of paint, what is your process for discovering the colour? Does the colour hold the same tone after all those years or is there any further analysis you need to do to uncover what the colour would have been originally?

Part of my initial research involved identifying early paint recipes and making small batches using original/near-original ingredients. This resulted in the compilation of a large colour database. By establishing which pigments had been employed in a particular later of paint (it isn’t always the first scheme that is the most relevant) I am able to work out what type of colour had been used and the approximate depth. Sometimes it is necessary to expose the layer of interest in order to gauge the depth. However, paint that has been hidden from the light for years changes colour and one has to expose the revealed layer to UV light and wait until some cleaning-up has taken place. This process requires judgement as well as knowledge and sometimes there are occasions where one has to ‘tweak’ the colour to sit alongside aged surfaces.  All of this is explained and discussed with the client.

What additional methods do you use to ensure accurate replication of these historical colour schemes?

It is a combination of analysis, experience and knowledge of early conventions / fashions that enable one to recreate historical colour schemes.

There are different colour systems and many catalogs available throughout history. How did these systems influence the choices made by architects and designers?

Until the 20th century they didn’t really, although there are examples of hand-painted colour cards that were shown to a client in order to help with the selection of colour. With the introduction of colour standards, however, it became easier to specify a colour and have a degree of confidence that something close to it would be applied.

As an expert in historical architecture paint, what was the inspiration that led you to research about the language of colour with the perspective of Abraham Gottlob Werner for your last book?

I have always been interested in how colours can be communicated / specified.  A name helps, up to a point, but is open to interpretation. However, Patrick Syme’s version of Werner’s Nomenclature was one of the first works that showed hand-painted colour that could be used across many disciplines – especially in natural history and medicine. It led to other works that developed and improved the idea.

Did you have any new personal discoveries about colour while working on the book?

I am always learning and believe that one should continue to do so. I have long realised that I am only scratching the surface and encounter new things all the time.

Are there any exciting upcoming projects or research initiatives, either related to colour or otherwise, outside of your current work?

At any one time I have several projects running.  Often, they can be quite different.  At the moment I am undertaking analysis of a major structure at Kew Botanic Gardens.  I am also advising on the treatment of 24 rooms in a well-known London building and producing a colour scheme for an exhibition of paintings in a small museum. I am also carrying out research into the membership of that most curious of British Army regiments – the Artists Rifles.  This was a military unit founded by a group of creatives in 1860 – painters, sculptors, architects, writers, poets, actors and musicians. I also have a deep interest in early 20th century British art and have been undertaking research into two artists in particular.