lead tin yellow II

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Lead tin yellow II

Lead-tin-yellow is known in two different forms. Lead-tin-yellow type II contains silica and pure tin oxide.

Manufacturer / product code: Kremer / 10120
Chemical description: lead and tin oxides, with the inclusion of free tin oxide and silicon (quartz). Kremer PDF
Color: yellow
Color Index: N/A
More info: Pigments Through The Ages Colourlex

Lead–tin yellow Type II (PbSnO₃) is a warm, opaque yellow pigment historically related to Type I but distinct in structure, manufacture, and use. While Type I is a lead–tin oxide, Type II contains a lead–tin pyrochlore structure formed at higher firing temperatures. This difference gives Type II a slightly more orange-yellow tone and closer ties to ceramic and glass technologies.

The pigment’s origins are linked to medieval and Renaissance glaze and enamel production, where mixtures of lead and tin oxides were fired to create opaque yellow decorations on ceramics and glass. Its presence is well documented in European glassworks from the 13th century onward, particularly in Venetian and Northern European workshops. Because its preparation required higher temperatures than Type I, it often arose as a by-product of glassmaking or vitreous processes before entering the painter’s palette.

In panel and fresco painting, lead–tin yellow Type II appears from the 14th to the 17th century, sometimes used alongside Type I but often identified in contexts where artists worked closely with workshop traditions involving ceramics or stained glass. It was valued for its covering power, durability, and slightly warmer hue, making it suitable for modelling drapery, flesh highlights, architectural details, and luminous mixtures with blues to create historical greens.

Like Type I, Type II disappeared from artistic use around the late 17th century, replaced by Naples yellow and later synthetic pigments. Its identity was forgotten until the 20th century, when X-ray diffraction and spectroscopic analysis allowed scientists to distinguish the two lead–tin yellows with precision.

Today, lead–tin yellow Type II is important in both conservation and historical reconstruction. Its presence helps art historians identify workshop practices, dating, and regional traditions—particularly where painting and ceramic technologies intersect.

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