The list of official GWR paints for buildings was:
- Stone color No.1
- Stone color No.2
- Stone color No.3
- Chocolate brown
- Bridge green
- Steel grey
- Signal red
The GWR building livery remained largely unchanged from deep in Victorian times when the first written references are to be found, to the end of the grouping period except that a colour officially called ‘chocolate’ was widely used in the 19th century but fell out of use after 1900 and at around the same time Stone no.2 ceased to be used following the introduction of ready-mixed paints (see below).
The three basic colours were ‘Stone No. 1’, or light stone, Stone number 2 and ‘Stone No. 3’, or dark stone.
Stone No. 1 was a warm buff colour said to have been a copy of Cotswold stone.
The stone no. 2 was a darker, browner buff while the dark stone was a mid-brown with a reddish tint, again a warm colour.
Stone 1 or stone 2 could be used for large areas like planking and canopies, with the darker Stone No. 3 for doors, metalwork and the like.
According to ‘Great Western Way’, if Stone 1 was used for the topcoat, Stone 2 was used as the undercoat and vice versa, so that the other colour showed through when the paint was worn as an indication that repainting was due.
All three shades were made by mixing iron oxide (ochre) with white lead mixed with linseed oil; the greater the amount of iron oxide, the darker the shade.
Great Western Way suggests that Stone no. 2 was the most widely used until the 1900s but gives no evidence for that statement, and it should be noted that the official specification for signal boxes dated 1907 and reproduced below makes no mention whatsoever of Stone no. 2.
The other official shade was ‘chocolate’, a warm rich maroon/brown with a reddish tint and this was used more than Stone no. 3 on signal boxes up to around 1907 and the same may have applied to stations before that time.
By 1907 and possibly before the GWR was buying ready-mixed paints in tins; one supplier was Williamson’s Ltd and their records make no mention of Stone no. 2 which suggests that from that time on only Stone no. 1 and Stone no.3 were used certainly all the colour pictures I have seen from the 1930s, 40’s and 50’s show a light shade for planking, etc. which indicates Stone no. 1.
Presumably, the GWR decided when they moved to ready-mixed paints that there was no point using three or four shades when two would do the same job perfectly well so the chance was taken to simplify things.
A second supplier was the Torbay Paint co. who supplied paint under the ‘Ripolin’ trade name which is referred to specifically in the 1907 specification.
This company advertised in the GWR Magazine in the pre-1914 period.
To put it simply, in the 19th century three shades of stone were in use together with chocolate brown, and in the 20th century only Stone no. 1 and Stone no. 3 were widely used which simplifies matters considerably for modelers.
In both periods window frames and glazing bars were always white.
The Lead Paint Act was introduced in 1926 after which lead-free paints began to be manufactured which again might have had slightly different tones and would certainly have weathered differently from the lead-based paints.
In 1931 the next change was made to the livery when a maroon was introduced for guttering, downpipes and hardwearing areas like steps on footbridges.
Everything else remained as it had always been; I do wonder if they had a lot of ‘Coach Lake’ left at Swindon works, and had to find some use for it!
Window frames & glazing bars were still painted white.
Some wooden buildings were painted with the lower walls in chocolate brown in later years, which should be obvious from a B&W photograph this seems to have been the only use made of the chocolate colour during this period.
GWR poster boards were black with the beading painted in white, as was the lettering; station signs were the same, and cast iron notices were also black & white. Enamelled notices were dark blue with white lettering.
Platform barrows were a ‘milk chocolate’ brown with black wheels & lettering in straw/cream the restored examples on the SVR are a good reference.
The brown seems to have been a shade used only for barrows; it was lighter than coach brown and totally unlike Stone No. 3. see the photo below.
Fencing was painted in either Stone No. 1 or No. 2 to match the station building, but gates could be white to make them stand out, something which should be clear from photographs.
In a few places such as Hungerford, early enamelled signs survived over doors or as running in boards; these had dark blue lettering on a white background or could be white on blue.
Some wooden goods sheds were not painted but the wood was finished with a preservative such as creosote which gave a black shade when newly applied which weathered to a mid-grey over time.
Doors & windows etc. were still painted in the usual way – B&W photo’s make it easy to identify sheds finished like this.
Signal box name boards were black & white after 1898, Stone no. 3 with chocolate lettering before then though in the early days this was done with separate cast iron letters screwed to the planking.
The cast-iron name boards came into use in January 1891 though initially, their use was not widespread.
By the mid-1890s pretty much every signal box had been fitted with the new name boards and it must quickly have become clear that the old colour scheme was not satisfactory for the smaller lettering on the new name boards resulting in the new regulations issued in 1898.
Interior walls of brick or stone buildings were plastered and painted with distemper, which was supplied in white, cream, brown, Ivy Green, Dark Green and Cambridge blue.
One of the darker shades was used up to nano level, with a lighter shade above.
Wooden buildings were painted internally in the same colours as were used on the outside. Interior walls of loco sheds, goods sheds, and sometimes wooden train sheds were also painted white which should be clear from photographs.
Kingswear train shed was an example of this, another station that was never repainted into BR colours.