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Architectural Paint and Colour Consultant
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Architectural Paint and Colour Consultant


The consultancy services offered by Patrick Baty. Advice on the selection of paint colours in buildings historic or otherwise. Paint analysis; colour measurement and matching; colour surveys and …

The consultancy services offered by Patrick Baty. Advice on the selection of paint colours in buildings historic or otherwise. Paint analysis; colour measurement and matching; colour surveys and technical advice. He has written and lectured widely on the use of paint and colour in historic buildings.

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  • 1. Patrick Baty Architectural Paint and Colour
  • 2. Some of the Work Undertaken
    • Colour matching
    • Consultancy on historical decoration
    email: [email_address]   
  • 3. email: [email_address]    Patrick Baty Originally an officer in the British Army. He has always had an interest in historic buildings. Patrick has been advising on the use of colour in decoration for the last thirty years.
  • 4.
    • Patrick Baty comes from a line of colourists – his great grandfather, the artist Robert Polhill Bevan, was described by a former director of the National Gallery as being:
    email: [email_address]    “ perhaps the first Englishman to use pure colour in the 20th Century”
  • 5. email: [email_address]    Patrick’s great grandmother, Stanisława de Karłowska, also a successful artist, combined a modernist style with colours inspired by her native Poland.
  • 6. email: [email_address]    Patrick’s father, Robert Baty, started Papers and Paints in London in 1960. For the next thirty years he developed a reputation for the matching of paint colours and for expert advice on decoration.
  • 7. Patrick joined Papers and Paints in 1980 and has since been responsible for consolidating the company’s reputation as all-round specialists in decorative paint and colour. In 2007 Papers and Paints were granted a Royal Warrant of Appointment to Her Majesty The Queen. email: [email_address]   
  • 8.
    • Since completing a research degree that focussed on the 18 th century housepainter’s methods and materials Patrick has advised on a considerable variety of restoration projects in the UK and USA
    email: [email_address]   
  • 9. Patrick has carried out extensive research into the use of pigments in architectural and decorative painting email: [email_address]   
  • 10.
    • Patrick Baty has written, taught and lectured on the use of paint and colour in architecture for many years.
    • He has also supervised and lectured to postgraduate students from several countries and to undergraduates and students on design courses in the UK.
    email: [email_address]   
  • 11. Patrick Baty has run a number of paint workshops in the UK and USA during the last fifteen years email: [email_address]   
  • 12. email: [email_address]   
    • Patrick has contributed to, edited or revised several books on colour and decoration, including:
    • Paint Magic
    • Colour in Decoration
    • Paint
    • The Complete Paint Book
    • Regency Style
    • Adam Style
    • Palladian Style
    • The Georgian Group Guide to the Georgian House
    • House Decoration
    • John Fowler: The Invention of the Country-House Style
    • Pigment Compendium
    • Materials & Skills for Historic Building Conservation
  • 13. email: [email_address]   
    • Some published works (1):
    • "Palette of Historic Paints." Country Life , 20 Feb. 1992: 56-57.
    • "Comment." [On the new restrictions on the use of lead paint] Country Life , 30 Apr. 1992: 44.
    • "Palette of the Past." Country Life , 3 Sep. 1992: 44-47.
    • "External Paintwork." The Building Conservation Directory 1993 . 1993: 89.
    • "A Potted History." Perspectives on Architecture . April 1994: 70-71.
    • "My True Colours." The Architects' Journal . 15 June 1994: 50.
    • "The Role of Paint Analysis in the Historic Interior." The Journal of Architectural Conservation . March 1995: 27- 37.
  • 14. email: [email_address]   
    • Some published works (2):
    • "To Scrape or Not to Scrape ?" Traditional Paint News , Vol. 1 No 2 October 1996: 9-15.
    • "Some Myths Laid to Rest." Traditional Paint News , Vol. 1 No 2 October 1996: 39-46.
    • "Getting the Measure of Colour." Historic House , Vol. 24 No 4 November 2000: 40-42.
    • "Some Tips on Commissioning Paint Analysis." In Layers of Understanding: Setting Standards for Architectural Paint Research Proceedings of a seminar held on 28th April 2000. Donhead Publishing, Dorset. 2002.
    • House Decoration, by Paul Hasluck. An introduction to the facsimile edition. Donhead Publishing, Dorset. 2001.
  • 15. email: [email_address]   
    • Some published works (3):
    • "Just How Authentic are Authentic Colour Schemes?" The Professional Painter & Decorator , August/September 2001: 26-28.
    • "Inspired by the Past?" In John Fowler: The Invention of the Country-House Style . Donhead Publishing, Dorset. 2005. This paper follows the English Heritage/Traditional Paint Forum conference Inspired by the Past that took place in London on 4th July 2001.
    • "The Colours of Chelsea." The Chelsea Society Report 2003.
    • "The Colours of Calke." The World of Interiors December 2007: 139-143.
  • 16. email: [email_address]   
    • Some published works (4):
    • "Exterior Colour on the Smaller Town House" in Materials & Skills for Historic Building Conservation . Blackwell Publishing, Oxford. 2008.
    • "The Colourful Past of the Royal Festival Hall," Traditional Paint News , Vol 2 No 3 February 2008: 95-111.
    • "Straws from Cumberland Market" in the catalogue for an exhibition of works of art at Southampton City Art Gallery entitled "A Countryman in Town: Robert Bevan and the Cumberland Market Group”. 26th September to 14th December 2008.
  • 17. Patrick Baty has been a member of the Executive Committee of the Georgian Group for many years. He was also a founding member of both The Architectural Paint Group and The Traditional Paint Forum. Patrick is a Fellow of the Royal Society of Arts and a Fellow of the Society of Antiquaries of Scotland. email: [email_address]   
  • 18. email: [email_address]    By definition most of his projects are carried out on listed buildings, however Patrick is very happy to consider projects on a more domestic scale. You may simply want clear-headed advice on the use of paint or colour in your own house. Perhaps you have recently bought it and are unsure where to begin. Patrick is not an interior designer. He offers non-frilly practical guidance on paint and colour issues - something that he has done on a daily basis for thirty years.
  • 19. email: [email_address]    Listed Buildings Planning consent must sometimes be obtained if painting a listed building. This depends on whether it affects the character of the building . The type of paint to be used is often a particular consideration in grade I or II* buildings.
  • 20. email: [email_address]    Should the sashes be a light or dark colour?
  • 21. Colour Matching
    • Existing paint
    • Wallpapers and fabrics
    • Other objects
    email: [email_address]    This can be done on your premises if you are unable to bring or send in the sample
  • 22. Paint Analysis
    • To establish how a room once looked
    • To date a structure
    • To guide the redecoration of an early building
    email: [email_address]   
  • 23. Colour Surveys
    • Colour measurements taken
    • Existing colours identified
    • Maintenance schedule prepared
    • Great savings in time and expense
    email: [email_address]   
  • 24. Corporate Colour Work
    • Corporate Colours
    • Shop Fronts & Fascias
    • Assistance with Stationery and Packaging
    email: [email_address]   
  • 25. Estate Colours
    • Identifying Earlier Colour
    • Advice on New Colour
    • Experience throughout the UK
    email: [email_address]   
  • 26. Colour Consultancy
    • 20 years experience on some of the most prestigious restoration projects
    • Consultant to the Crown, Government and many National and private institutions
    • Many private clients in the UK and USA
  • 27. Colour Ranges Developed
    • Heritage range designed for Dulux
    • New range for English Heritage
    • Ranges for the French & German markets
    • Papers and Paints ranges
    email: [email_address]   
  • 28. email: [email_address]    London Albany Royal Albert Hall All Saints: Margaret Street Apsley House Archway House, Clapham Common A Selection of Recent Projects
  • 29. Apsley House Patrick Baty taking colour measurements
  • 30.
    • Apsley House
    • Gate piers painted to match Portland stone. I also carried out a colour survey of the interior.
  • 31. email: [email_address]    London (continued) 56 & 58 Artillery Lane, Spitalfields Athenaeum Club Bank of England The Barbican Estate BBC Broadcasting House 13 Bedford Row, WC1 Boodle's British Museum The Brompton Oratory Brooks' Club Buckingham Palace Carlton Club Cavalry and Guards Club The Cenotaph
  • 32.
    • Brooks’s, St James’s
    • A survey was made of the existing paint colours and a maintenance schedule prepared
  • 33. email: [email_address]    London (continued) Chelsea Arts Club Christ Church, Spitalfields Crosby Hall Crown Estate Headquarters Dover House, Whitehall (Scotland Office) Downing Street Ealing Abbey Eltham Lodge Eltham Palace The Foreign Office The Foundling Museum The Benjamin Franklin House The Museum of Fulham Palace The Geffrye Museum St George's, Bloomsbury
  • 34. Paint Analysis & Colour Matching
    • I carried out the analysis of the Rotunda and matched paint colours in the Scottish Secretary’s Office
    Dover House The Scotland Office
  • 35. email: [email_address]    London (continued) St George-in-the-East, Stepney The Georgian Group Headquarters Golden Lane Housing Estate 1 Greek Street, Soho Princess Amelia's Temple: Gunnersbury Park Gwydyr House, Whitehall (Wales Office) Hammersmith Bridge Handel House Museum Home House St. James's Palace St John the Baptist, Hoxton St. John's, Hyde Park St. John's, Smith Square Dr Johnson's House Kensington Palace Kenwood
  • 36. Paint Analysis
    • Handel House
    • London
    • Home to the composer
    • George Frideric Handel
    • from 1723 to 1759
  • 37. email: [email_address]    London (continued) Kew Palace Lancaster House Lichfield House (15 St James's Square) London Library Mansfield Street - various Marlborough House (Commonwealth Secretariat) Metropolitan Wharf National Gallery Palace Theatre Royal Borough of Kensington & Chelsea - Town Hall Royal Festival Hall Royal Hospital, Chelsea Royal Society of Musicians Royal Naval College, Greenwich (Old) Bank of New York
  • 38. Consultancy
    • I was employed to advise on the restoration of the painted schemes that existed when occupied by King George III
    Kew Palace
  • 39. email: [email_address]    London (continued) The Old Royal Observatory, Greenwich St Michael and All Angels, Bedford Park St. Paul's Cathedral St Saviour's, Hampstead The Sir John Soane's Museum Somerset House Spencer House Tower of London Travellers' Club Trinity College of Music The Victoria and Albert Museum: (Silver Galleries; Hereford Screen; British Galleries & Paul Pindar House) Wallace Collection Westminster School St Yeghiche's Armenian Church
  • 40. Paint Analysis & Colour Matching
    • Travellers’ Club
    • Pall Mall
    • Analysis and colour matching carried out over the last 15 years
  • 41. email: [email_address]    ENGLAND Avon   Ashton Court, Bristol City of Bath exteriors Commercial Rooms, Bristol Norland House, Clifton A Selection of Projects Further Afield
  • 42. Basildon Park , Berkshire An analysis of the external surfaces
  • 43. email: [email_address]    Berkshire   Basildon Park Elstree School Royal Lodge Windsor Castle Royal Mausoleum   Buckinghamshire   Stoke Park     Cambridgeshire   Odsey House
  • 44. Analysis & Consultancy
    • I have carried out various projects in the Castle
    Windsor Castle Berkshire
  • 45. email: [email_address]    Cornwall   Boconnoc House Penzance Colour Project   Dorset   Kingston Lacy   Essex   Boxted House Valence House, Dagenham Valentines Mansion, Ilford
  • 46. email: [email_address]    Gloucestershire   Gloucester: St Michael Square Project Hidcote Manor Garden   Hampshire   Royal Clarence Yard, Gosport Stratfield Saye Winchester College   Herefordshire   The Mynde
  • 47. Colour Survey
    • Syon Park
    • Great Hall
    • The painted scheme of John Fowler was measured before it was recently overpainted
  • 48. email: [email_address]    Hertfordshire   The Grove Monkenholt, Hadley Green   Isle of Wight   Farringford House   Lincolnshire   Belton House   Middlesex   Bentley Priory Syon House
  • 49. email: [email_address]    Northumberland   Brizlee Tower, Alnwick   Nottinghamshire   Worksop Manor   Oxfordshire   RAF Bicester Sarsden House St Peter's College, Oxford   Suffolk   Landguard Fort, Felixstowe
  • 50. Hampton Court Palace, Privy Garden Identification of 1702 paint colours
  • 51. email: [email_address]    Surrey   Addington Palace Air Forces Memorial, Runnymede Army Staff College, Camberley Clandon Park David Garrick Temple, Hampton Ham House Hampton Court Palace (Privy Garden, King’s Beasts and other projects St Peter's Church, Petersham Polesden Lacey
  • 52. The King’s Beasts Hampton Court Palace I identified the colours that would have been applied to King Henry VIII’s heraldic beasts in the 1530s
  • 53. email: [email_address]    Sussex   Brunswick Square, Hove Coombe Place, Offham Fife House, Brighton Goodwood House, Chichester Uppark, near Petersfield Weald and Downland Museum West Midlands   Barber Institute, Birmingham
  • 54. email: [email_address]    Wiltshire   Banqueting House: Wardour Old Castle Stourhead Wilbury House Wilton House   Yorkshire   Judge's Lodgings, York Raby Castle, near Darlington Temple Newsam House, near Leeds
  • 55. Paint Analysis
    • Brodie Castle
    • Moray
    • I was asked to identify the first scheme in the 1820s drawing room
  • 56. email: [email_address]    SCOTLAND Broughton House, Kirkcudbright 26-31 Charlotte Square, Edinburgh Culzean Castle, Ayrshire Donaldson's College, Edinburgh Dumfries House, Ayrshire Falkland Palace, Fife The Georgian House, Edinburgh Greenbank, Glasgow The Hill House, Helensburgh Hill of Tarvit, Fife Holmwood House, Glasgow The House of the Binns, Linlithgow Hynish, Isle of Tiree, Argyll Mayshiel Shooting Lodge, East Lothian Newhailes, East Lothian
  • 57. email: [email_address]    SCOTLAND (continued) Pollok House, Glasgow Robert Smail's Printing Works, Innerleithen Threave House, Castle Douglas WALES Gower Penrice Castle ISLE OF MAN   Castletown Old House of Keys
  • 58. Paint Analysis External face of a stable door – dark blue now although grained originally Hill of Tarvit Fife
  • 59. email: [email_address]    IRELAND   Co. Kilkenny Castletown Cox   Co. Laois Abbey Leix Ballyfin   Co. Meath Headfort House   Dublin 50 North Great George's Street
  • 60. A House in Southern Ireland Numerous visits were made during the five year restoration of this house. Advice was given on appropriate colours and types of paint.
  • 61. email: [email_address]    USA New York Metropolitan Museum of Art   North Carolina Richard Bennehan House, Stagville Tryon Palace, New Bern   South Carolina   Nathaniel Russell House, Charleston 14 Legare Street, Charleston   Virginia   Lee Hall Colonial Williamsburg Foundation
  • 62.
    • Tryon Palace
    • North Carolina
    • USA
    • A visit was made to advise on the appropriate decoration for this 1950s recreation of the original State Capitol
  • 63.
    • A private house in
    • Charleston
    • South Carolina
    • USA
    • Patrick Baty was asked to assist an American paint analyst and to prepare a paint specification
  • 64. Paint Analysis (1) Small samples of paint are removed from representative elements of the room being examined
  • 65. Paint Analysis (2) The samples are set in a clear resin and numbered
  • 66. Paint Analysis (3) When the resin has set the block is cut through and polished
  • 67. Paint Analysis (4) The samples are then examined under various microscopes
  • 68. Paint Analysis (5) A series of green schemes found on a garden door on a Scottish estate
  • 69. Paint Analysis (6) Occasionally further tests are required to establish the composition of a paint layer. Here the scanning electron microscope confirms that a paint is made up of lead and zinc with small quantities of chalk and barytes added as an extender
  • 70. Paint Analysis (7)
    • Pigment identification
    • Blue Verditer pigment in dispersion viewed under a polarising microscope
    Royal Pavilion Brighton
  • 71. Paint Analysis
    • Artillery Lane
    • Spitalfields
    • The finest 18 th century shopfront in London
  • 72. Artillery Lane, Spitalfields Scanning Electron Microscope print-out Cross section of paint
  • 73. Paint Analysis
    • I identified the 1740s decorative scheme in the Picture Gallery and proved that the original flock paper had been green
    Temple Newsam near Leeds
  • 74. Paint Analysis
    • Benjamin Franklin House
    • I identified the decorative schemes that existed when the house was occupied by Benjamin Franklin
  • 75.
    • Newhailes , East Lothian
  • 76. Paint Analysis
    • Newhailes
    • East Lothian
    • I established that the Dining Room had last been painted in 1873 and that it was not the original scheme of 1739 that had survived
  • 77. Newhailes, East Lothian Until my investigation it was thought that this house had been untouched by time
  • 78. Culzean Castle, Ayrshire Paint Analysis
  • 79. The weathered blue was a green when first applied The exposed “blue” can be seen under the microscope Culzean Castle, Ayrshire
  • 80. Paint Analysis
    • I was employed to investigate the decorative schemes applied to the inside and outside of six adjacent buildings in the New Town. This is possibly the largest paint analysis project ever undertaken
    26-31 Charlotte Square Edinburgh
  • 81. Paint Analysis
    • Syon House
    • Great Conservatory
    • The original scheme of 1827 was revealed
  • 82. Paint Analysis I carried out an analysis of the paint on the external stucco and the gilded statue of Athena Athenaeum Club London
  • 83. “ Bronzed” Atlas in the lantern Cross section of paint from “bronzed” element. It had been painted twice First “bronzed” scheme Lancaster House
  • 84. Paint Analysis
    • Holmwood House
    • Glasgow
    • Considered the finest domestic design by the architect Alexander ‘Greek’ Thomson
  • 85. Paint Analysis
    • Hammersmith Bridge
  • 86. Paint Analysis
    • BBC & Radio Theatre
  • 87. Paint Analysis
    • I was asked to identify the 1951 decorative scheme for the recent major refurbishment of this first postwar “modern” building
    Royal Festival Hall
  • 88. Paint Analysis
    • Golden Lane Estate
    • London
    • I was asked to identify the 1962 colour schemes for this newly-listed housing estate
  • 89. Colour Measurement We are frequently asked to match the existing paint colour on an object. Here a sentry box at Kensington Palace is being measured with a spectrophotometer
  • 90. Several hundred thousand paint colours have been measured with the spectrophotometer. These are stored on a computer and close matches can be found for most new colours.
  • 91. Colour Measurement
    • 10 Downing Street
    • Initially I was asked to match the colour of a sentry box. Other colour work has also been carried out on the interior
  • 92. Colour Survey
    • Boodles’
    • St James’s
    • Paints matched to existing and maintenance schedule prepared
  • 93. Colour Matching Kensington Palace Orangery A wooden plinth had been built to prevent the base of the statue being damaged. I was asked to produce a textured paint in a colour to match the Portland stone base
  • 94. Colour Measurement
    • Royal Naval College Greenwich
    • Painted Hall
    • Survey of existing colours to produce a scheme for the dado
  • 95. Colour Measurement Wilton House Little Smoking Room A fragment of the wall surface on a paint matched to the overall colour of the stippled finish
  • 96. Colour Survey Wilton House Wyatt Cloisters Each web of the vaulted ceiling had been painted in a different colour when John Fowler supervised the decoration in the 1960s. In 2008 I carried out a survey in order to be able to reproduce the colours.
  • 97.
    • St James’s Palace
    • Surfaces matched in various parts of the building
  • 98. Paint Analysis & Teaching
    • Analysis of a small plantation house.
    • Venue of several paint workshops run by Patrick Baty
    Bennehan House Stagville North Carolina USA
  • 99. Paint Workshops
    • North Carolina USA
    Following my analysis the students made the paint and then applied it
  • 100. Paint Workshops
    • Eastfield Village
    • New York
    • USA
    • Five day courses run by Matt Mosca and Patrick Baty
  • 101. Paint Analysis & Colour Measurement Foreign Office The original colour of the external ironwork was established. Paint has also been matched in various locations within the building.
  • 102. The Griffin and Millstone is the Baty heraldic badge.  The Griffin was the crest of my grandmother's family but, following a petition to the College of Arms, she has been given a millstone to indicate our long involvement with paint and colour. The millstone also refers to the burden carried by my branch of the family who were “relieved” of a considerable inheritance. 
  • 103.
    • For more information on what I do:
    email: [email_address]