No idea. This pigment must be cheap and non-toxic. It looks like a pale yellow color. Try to burn a very small amount of this paint. If the residue ash stay yellow, then, a more likely, it is a form of Titanate yellow PY53 or equal pigment. If the residue ash become white – it is an organic, petroleum pigment.

Thanks for the tip – I’ll give that a shot if the tube doesn’t list the pigment content.

I know a lot of the time promos are done with free tubes of white. I wonder if OH decided to do something similar but throw some other pigment in to make it a “color.”

I know Gamblin does their Torrit Grey with the accumulated pigment collected in their filtration systems. Instead of throwing it out, they make paint out of it and give the paint away as promo items. Wonder if OH had a similar idea of some sort.

Probably, OH tried to test their Beta version of new yellow paint or pigment before widely release it to a market?

The best substitutes overall we have for Genuine Naples Yellow (PY 41) today are Nickel Titanate Yellow (PY 53) for the lemon shade and Chrome Titanate Yellow (PBr 24) for the deep shade.

PY53 and PBr24 are the best substitutions for genuine Naples Yellow in acrylic medium. In Oil paint, both pigments are non-drying, while real thing, PY41 is a very fast, perfectly drying material. The main trouble to create a paint from PY53 and PBr24 is a question: what to add there to make paint useful?
The problem with additives is that Zinc White is not useful, it makes a very pale paint, Cadmium Yellow is toxic and not a perfect drier, Hansa PY74 or PY73 are not a lightfast additive, Iron oxides PY42 and PY43 are mud, PY41 is perfect, but toxic and prohibited Lead paint, Lead-Tin yellow is also perfect but also prohibited. Therefore, in oil paint, a mixture of Cadmium red, Cadmium yellow and Zinc-Titanium white might be the best substitution for real PY41. Also, PY42+Cadmium Yellow+Zinc White+Titanium White may be a workable paint, but the mud hue of those Iron oxide additives make this substitution far not equal. Some mixtures looks like a paranoid stuff!

In oil painting, I prefer to mix “Naples Yellow hue” with my own hands using Cadmium pigments.:D

If Williamsburg ask me to compose real “Naples yellow hue” for them, I will do that:
15% PY41, 1% Bess wax, 4% Dammar resin, 10% marble dust, 70% PY53 in a binder made from 10% Stand oil + 90% refined Linseed oil or made from pure refined linseed oil.

They used W&N “Naples Yellow” for this test, but when I checked this paint it is not PY41, it is PBr24: http://www.dickblick.com/items/00461-4523/#colorpigments

Well, that test is just on genuine naples yellow and doesn’t show Pbr24 or PY52 at all.

At first I thought how you. But there was a significant difference in the test between the two almost identical pigments. Lead-Tin yellow and Naples Yellow.
Chemically, it seems to be more than strange. I tried to read more about these pigments. I found nothing can say that Lead-tin yellow and Naples yellow are very different in oil film structure. Just that Naples yellow is perfect and makes a durable film.

After that, I looked at the second graphic and you can see how strangely similar to titanium their “naples yellow” is:

Jetflair, I think more than anything is it is just a promotional item and they used pigments they already had available and a low cost base of white. Basically, it’s a cheap color to give away.

I would gladly take it over the useless Torrit Grey any day. That paint is useless (might as well call it Lint Trap Grey) and my tube is gritty with all kinds of clumps of undispersed pigments.