Those look like exceptionally old bottles. Mixing charts would be useless for print retouching purposes. Print color varies not according to not only brand and developer, but type and amount of toning. Exact background image color can even vary within the same print, especially if it's split-toned. Mixing by eye is the only thing that makes sense, or ever will. And work under a good balanced light source.
Every kind of b&w print I do only needs three kinds of Spotone. Mostly Neutral Black, then often some Selenium Brown. Olivetone is less often used, and only in tiny amounts - I find it necessary for certain MGWT applications, for instance, or in the old days, Portriga.
I don't know of any papers today which go cold enough to warrant Spotone Blue-black.
Retouching negatives is a very different subject. Red Creosin dye has long been used to hold back portions of negative. I have a little bottle of the Kodak powder that will last me the rest of my life. Photographer's Formulary now offers something similar. It can be diluted way down, and then be gradually built up to produce the exact amount of light blockage you need.
Very few modern film have a decent retouching surface. But you can always register a sheet of frosted mylar to your original neg, and use the dye or smudge pencil on that instead.
