ᐅ Facade paint color for a house with windows in RAL 7016 (Anthracite Gray)?

I think @ypg is right. However, I also believe (or at least based on my experience) that most people would likely call a color like off-white gray or just gray "pure gray." But that wouldn’t be anthracite. And true anthracite probably doesn’t really exist.

Technically speaking, gray (C0 M0 Y0 K50) is probably the pure gray since it contains no chromatic colors and is 50% black (key).

So, it’s exactly the midpoint in the possible print range between nothing and full.

Personally, I find that (at least on my monitor at this time of day) the gray has a slightly yellowish (thus warmer) tint.

Tolentino schrieb:

At least on my monitor at this time of day, the gray appears to have a slightly yellowish (so rather warm) tint.

Is that because you are using the yellow filter for this time of day?

Actually, not really...
I was on the desktop, where I don’t have something like that (night mode). I only mentioned the time zone because it can also affect color perception...

Tolentino schrieb:

However, I also think (or at least based on my experience) that most people would probably describe a color like off-white gray or just gray as "absolute gray." [...] And technically speaking, gray (C0 M0 Y0 K50) is indeed an absolute gray since it contains no "color hues" and 50% black (Key). So, exactly the midpoint between no ink and full ink in printing.

More than most—actually everyone—can perceive color. Even so-called red-green colorblind people have photoreceptors for color vision, just calibrated differently, rather than only receptors for pure brightness perception. The same applies to color displays:

Tolentino schrieb:

Personally, I find that (at least on my monitor at this time of day) the gray has a slightly yellowish (so rather warm) tint.

Only a black-and-white monitor can theoretically* display pure gray; a color monitor uses red (= inverse cyan), green (= inverse magenta), and blue (= inverse yellow). The calibration of these three color elements also interacts with the color temperature of the ambient light. Depending on the interference pattern, a tint can shift in one direction or another, or somewhere in between.
*) With a black-and-white monitor, we would enter the next level of the philosophical purity debate about color: which combination of lux, lumens, and candela at which mains frequency would produce the truest white ;-)

Tolentino schrieb:

But that would not be anthracite. And absolute anthracite probably doesn’t really exist.

Anthracite can definitely be standardized as a Pantone color—its approximations in CMYK/RGB are a somewhat less greenish than blueish very dark gray, so relative to a "neutral" balanced gray (very dark gray), it actually has a slight turquoise-blue undertone ;-)
(Note that as a powder coating pigment, I know it without such a tint).

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Tolentino schrieb:

Personally, I find that (at least on my monitor at this time of day) the gray has a slightly yellowish (so rather warm) tint.

You can forget about monitor display for such comparisons. What you end up seeing depends too much on the hardware. There are special monitors for graphic designers that provide more consistent results. Even then, you still have the issue of different color models (RGB vs CMYK vs ...) which can make the same theoretical color appear very different.

WilderSueden schrieb:

There are special monitors for graphic designers that provide more consistent results. However, the issue with different color models (RGB vs. CMYK vs. ...) remains, which can lead to very different impressions even with theoretically the same color.

Graphic designers nowadays usually work for both print and online media and therefore handle both color representations for a (mixed) color. RGB and CMYK are not entirely different color models but rather complementary subtractive/additive systems (which is why I referred to Red as inverse Cyan, Green as inverse Magenta, and Blue as inverse Yellow); black results where C, M, and Y are printed over each other: 90% C + 60% M + 90% Y (+ 0% K) is equivalent to 30% C + 0% M + 30% Y + 60% K. For easier understanding and expressed in "decimal" values, the same shade would be 10 R + 40 G + 10 B.

Referring to an anthracite color #293133 (decimal: 41 R, 49 G, 51 B) = 84% C + 81% M + 80% Y + 0% K means, after separating, 4% C + 1% M + 0% Y + 80% K, indicating a 4% C and 1% M (slightly bluish-turquoise) tint of an 80% gray.

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