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Okay, here is the theory.
You take your color-chip in (assuming it's not on a pre-made paint-card from, say, Behr,) and they take it into the back room.
In the back room, they plug it into a little machine that has a calibrated sensor, and a calibrated light source. The machine knows the pigments it has to work with. It churns and bubbles for a few moments, and then spits out a 'color recipe' for its pigment suite.
They plug that into their machine, and it squirts out calibrated amounts of pigment paint into the paint-base, and then they shake it for you.
Now, there's a lot of room for error here.
1. Calibrated light source
2. Calibrated sensor
3. pigments
4. measuring machine
5. the tint-base.
Okay, now, moving along to your case:
What you see on a screen has nothing to do with reality. There is a fundamental disconnect between anything on a back-lit display and anything that is 'reflected light.' The color-space represented by anything you can make on your monitor does not exist in the real world.
Okay, maybe that's a little harsh, but there really isn't a real conversion between your (uncalibrated) monitor and anything else out there. Even if your monitor was calibrated, it'd still not match reality.
The best bet is if your color-picker will identify a Pan-tone color. Then find a Pan-tone book and see if the spec'ed color has anything to do with the book. If it's close, you should be able to find the color you want on that page. Then, you may be able to take the page, or perhaps even the Pan-tone color code to the paint store.
Good luck, however; color match is one of the most devilish things to get involved with.
Leo Kerr
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I'm aware of the margin of error with matching. That's why I was wondering if I could just circumvent the matching and deal directly with the color codes themselves. But, it doesn't sound like it'll translate according ro your description.
