These two get lumped together because both sit at the heritage end of the market, but they're really doing different jobs.
Edward Bulmer is the purist's choice. The paint is made with natural pigments, plant-based binders and minerals — no acrylics, genuinely breathable, very low VOC. That breathability matters in old, solid-walled houses where you want moisture to move through the plaster rather than get trapped. The palette is tight at 146 colours, but it's a properly curated, historically-grounded one — strongest in greens (31), then browns, blues and creams. Colours like Silver White and the soft, sunny Jonquil have a depth and chalkiness that comes from real earth pigments, not a tint machine. The LRV range runs 3.8 to 98, so you get genuine extremes — proper inky darks and near-white brights.
Farrow & Ball is the broader, more practical option. With 301 colours you've got far more to play with — 67 greens alone, plus 41 blues and 38 neutrals — and the finishes (Estate Emulsion, Modern Emulsion, Estate Eggshell) are well understood by every decorator in the country. All White is the cleanest near-pure white they do, and brights like Acid Drop show off the range's reach. LRV runs 5 to 92. It's not natural paint in the Bulmer sense — it's a modern water-based formula — but it's reliable, widely stocked and easy to colour-match.
The honest split: if your priority is eco credentials, breathability and period authenticity — a Georgian or Victorian house with lime plaster, say — Edward Bulmer earns its keep. If you want choice, availability and a fuss-free job, F&B wins, and you'll find a tin far more easily.
Practical advice: Bulmer's natural finish can look slightly different in coverage and touch-up behaviour to a conventional emulsion, so always brush out a generous sample and live with it for a few days. Order test pots from both — the pigment difference is obvious in person and decides it faster than any spec sheet.