Choosing a colour – whatever the reason may be – is an act which all humans practice in abundance, both consciously and subconsciously. Once upon a time (pre-screen/digital era) printed colour charts – also referred to as swatches – of all shapes, sizes and materials were used as reference point for many; say for a painter to choose a specific tone of red, or for a naturalist to identify the colours of a bird’s plumage, or perhaps for a bookbinder to choose a paper for an upcoming binding . . . the list goes on!
On purchasing and ogling over the book ‘Color Charts: A History’ by Anne Varichon (translated from the French by Kate Deimling), which is filled with photographic reproductions of historical colour charts dating from as early as the 15th century, inspiration struck to search for colour charts of a similar nature that existed within our collections. Much to my delight, many exquisite examples were found.
Beginning with an early French example, ‘Art de la teinture des laines en toison, en fil et en tissu’ or ‘Art of Dyeing Wool in Fleece, Thread and Fabric’ by M. D. Gonfreville was published in 1848 and is filled with mounted samples of dyed material. Spread over eight plates, these eye-catching swatches have been well-preserved resting upon the leaves of this book. The vibrancy of the colours make it hard to believe that these were mounted 176 (!) years ago.
M. D. Gonfreville’s ‘Art of Dyeing Wools in Fleece, Yarn, and Fabrics,’ Librairie Scientifique, Industrielle et Agricole Lacroix et Baudry, Paris (1848) UCD Special Collections 48.F.20
In her book, Varichon, referring to Gonfreville’s ‘Art of Dyeing’, notes that “the ideal device of a colour chart reached its full potential as early as the mid 19th century”. Gonfreville’s collection of colour samples are much more than a collection of samples, as each one is intimately connected with the other and tells a story using visual language. The samples are also supplemented with formulas, giving the composition of specific colours. Sitting comfortably within uniform frames, each with an accompanying printed number, these swatches of colour and texture evoke a sense of wonder.
M. D. Gonfreville’s ‘Art of Dyeing Wools in Fleece, Yarn, and Fabrics,’ Librairie Scientifique, Industrielle et Agricole Lacroix et Baudry, Paris (1848) UCD Special Collections 48.F.20
Next on the list are two books by a renowned figure within the field of ornithology, Robert Ridgway (1850-1929). Ridgway was an American ornithologist who specialised in systematics (i.e. the science of classification). From a young age, Ridgway was fixated on the natural world and went on to become the first full-time curator of birds at the United States National Museum (now the Smithsonian Institution). It was throughout this appointment that he created his illustrated ‘Nomenclature of Colors For Naturalists’.
Ridgway’s ‘Nomenclature of Colors for Naturalists’ was published in 1886 and was designed to aid ornithologists with their descriptions. Introducing the book, Ridgway notes –
“The present volume is intended to supply a want much felt by the author during the course of his ornithological studies, and therefore presumably experienced by other workers in the same field …”
The hand-painted colour samples, found within this green cloth and gold stamped binding, amount to approximately 186 colours and are complimented by a variety of diagrams such as the diagram seen below, titled ‘Figures Illustrating Details in External Anatomy of a Bird’s Head’. Colour sample names, such as ‘Warbler Green’ and ‘Canary Yellow’, further allude to the author’s passions and his intended use of this book and its colour charts.
Book cover, illustrated plate XII and plate IX. – Ridgway’s ‘Nomenclature of Colours for Naturalists’, 1886. UCD Special Collections RCScI 598 RID
In 1912, Ridgway self-published a somewhat expanded version of his previous work titled ‘Color Standards and Color Nomenclature’ which was intended for a wider audience and included an impressive 1,115 colours, alongside notes on dye formulas. This book, filled with a broad spectrum of hues (including ‘Scheele’s Green‘, a highly toxic pigment created by Swedish chemist Carl Wilhelm Scheele in 1775 … EEK! *), most likely played an influence on the universally known and revered Pantone colour charts.
Perhaps the identification of a colour by name – or, the poetry of colour naming – also began with these historic colour charts. This poetic naming of colours is something which continues to this day and allows us to imagine the sensory experience of a given colour – Flax Flower Blue… Nopal Red… Killarney Green…
Plates I and XVIII, from Ridgway’s ‘Color Standards and Color Nomenclature’ (1912). UCD Special Collections RCScI 570.1 RID . * Scheele’s Green (and Paris Green) contain copper-arsenic compounds. The above has been handled safely by staff.
The rise of the synthetic dye industry was largely based on exciting discoveries made by chemists in the 19th century. From components of coal tar, many chemists experimented with and prepared coloured substances with potentially promising dyeing properties – some of which we now know resulted in the creation of highly toxic pigments which caused illness and fatalities.
‘Progrès de l’industrie des matières colorantes artificielles’ or ‘Progress in the artificial coloring matter industry’ was published in 1876, in Paris, by French chemist Charles Adolphe Wurtz (1817-1884). Featuring many mesmerising mounted specimens of dyed fabric, this book is yet another example of how the French played a significant role in the developments of the synthetic colour market. Germany, ultimately, became the frontrunners by tailoring products to suit the needs of manufacturers and keeping on top of the innovative advancements in the industry.
Rosa naphthylamine on silk, from Wurtz’s ‘Progrès de l’industrie des matières colorantes artificielles’ (1876) UCD Special Collections RCScI 648.5 WUR
In ‘Color Charts: A History’ by Anne Varichon (translated by Kate Deimling), Varichon states that colour charts have linked generations of artists, artisans, scientists, industrialists, and merchants, and have played an essential and enduring role in the way societies think about colour.
“Color is a characteristic that evades language as well as memory,” Varichon notes, “and can only be grasped by example.” The above examples of colour charts, in their delightfully diverse forms, are a visual culture worthy of thought, research, recognition, and, importantly, preservation.
This post was written and researched by Rachel Daly, Library Assistant, UCD Special Collections
Further Reading:
Color Charts: A History by Anne Varichon, translated from the French by Kate Deimling (2024)
The art of colour : the history of art in 39 pigments by Kelly Grovier (2023)
The Secret Lives of Colour by Kassia St Clair (2016)
Werner’s nomenclature of colours by P. Syme (2017) (A combination of the 1814 and 1821 editions have been used to create this edition)
What wonderful books. As an artist I love looking at colour charts and regularly make me own.
Outstanding post – not something we think a lot about, so this is eye-opening.
Thank you, Finola.