AMBER - Protect & Storage

Over time, the amber oxidizes (reacting with atmospheric oxygen) - this process is also called "crazing". The oxidation usually takes several years before you realize it and when the damage occurred it is in every way too late to save and restore the damage (The oxidized layer can be ground away, but in many cases it is not an option). Because of the slow process and lack of knowledge, there are many collectors who neglect the importance of protecting their amber collection.

I have seen several one-in-a-million piece, which has a value of several thousand dollars and irreplaceable scientific value, been stored incorrectly and therefore oxidized very bad - their value is in every way fallen to zero. The amber surface becomes darker (red) than the inside and small cracks will begin to appear in the surface (like on dry clay), allowing oxygen to penetrate into the piece - worst of all, this will also "dissolve" and darken the inclusions.

Once this process has started it cannot be stopped directly or restored, but only slowed down. Note that you can see in the picture, how the oxidation penetrates the piece like a red shadow.

Primary reasons why oxidation will occur:

Temperature changes
Sun light (UV-light)
Atmosphere:
- Oxygen
- Dry air

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There are several ways to effectively slow the process down. Some of the ways are (obviously) more effective than others - but here it is important to note that we don't know the long-term effect and stability of several of the methods. We know the theoretical durability and we have some knowledge from different experiments, but in many cases there are several unknown factors which will have an impact and change over the next several hundred years.

I have seen several National Museum collections, and most have been expanded so rapidly that it has been difficult to keep up with a safe storage. Museum staff have always made sure to retain the data on the amber, but it has been more difficult to ensure the conditions it was stored under. For example, on a lot of Zoolgisk Museum's the amber is stored with the insect collection. This makes good sense in the first place, but the insects are kept under some very special circumstances to prevent mold etc. The conditions are such as high room temperature and dry air, and this is almost the worst possible conditions you can store amber in. Due to lack of financial resources, there is at the most often, no evidence of a secondary containment in the near future.

Each type and each piece of amber is unique – they differ when it comes to internal pressure and speed of oxidation, etc. and when the surface is being treated, the individual differences have much to say. Do not consistently embed Cretaceous amber because of its generally fragility, and neither consistently refuse to embed because you are afraid of the long-term effects. You have to consider the individual piece and assess what it needs in order to be preserved best for the future generations. Below I will mention some different methods and my experiences within.

The amber is best stored in relatively constant anoxic conditions possible in closed airtight bags or containers and placed in a dark place where the temperature does not change.

1. method: add a permanent new, protective surface to the amber

Lacquering or embedding the amber in plastic - epoxy, polyester ect.

Lacquering: You should be aware that a lacquering can change color over time. It may be unclear, change color and possibly make photography of the inclusion difficult or directly impossible. But the benefits of lacquering is an immediately secure protection. In addition, you can easily sand the varnish and preserve the amber piece again or in a new way.
Embedding. Perfect for unstable pieces (eg. Cretaceous amber), but you should be aware that the new surface will, in some cases, decay, harden and "press" the amber over time and, in some cases, destroy the amber.

2. method: add a non permanent protective surface

This method is very simple, safe, effective and the absolute cheapest.

Nose fat: It is something we all have - but not all consider the fact that it is actually a stable production of an effective material to protect amber against oxygen. Each time you touch a piece of amber you should rub your finger on the nose sides or on the forehead along the hairline. The fat your skin produces will provide a protective surface and close the cracks on the surface. "Amber must be used and not stored away," it is said about amber jewellery. But this also applies to your amber collection - it should be used and not stored away. Each piece must be used/rubbed in a layer of nose fat every six months.
Soft silicon car wax: This is a well-known trick among amber collectors - the most used wax is car Turtle Wax (but other silicone waxes can also be used). In the same manner as the protection of the vehicle this wax will be able to protect the surface of the amber from oxygen. Twice a year you give a thin layer of wax on the surface and the amber will be effectively protected against oxidation.
It is very important that you use the right wax - it must not contain any cleaning chemicals. If you find out that the wax damages the amber then do not panic. Former collectors' missteps have shown that the amber becomes "brown", but after you have removed the old surface (about 3 mm, depending on how long the the wax has been on the surface) and given a new polishing, the process is stopped and the amber is saved.

3. method: remove the oxygen around the amber.

In this way you will not modify, add, or otherwise affect the natural stability of the amber. Therefore, this would be the ideal way to keep amber in the long term. It makes good sense - replace the air around the amber with an inert gas such as argon and problem will be solved.
In this way you will not get side effects from the lacquering (problems with photography) and the embedding (problems with photography and its long-term sustainability) and is able to keep the amber just as it is. Theoretically, this will be quite ideal.

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It is very important to find a system that fits your interest. When working with amber, your collection will be expanded quickly, and if you do not have a system from the start it can result in a lot of trouble and possible danger of loosing important data on the individual pieces.

I keep all my inclusions in a scientific taxonomic system, eg. a box of Coleoptera. This box consists of a lot of small papers standing vertically, sorted by family names such as Cantaridae, Carabidae, Cerambycidae etc in alphabetical order. The amber is between the various family papers. Each piece is in a Mini-grip bag (the bag with snap lock). These bags are surprisingly effective in slowing oxidation of the amber. Every piece has then been given a unique number that will always be linked to exactly this piece and then a location number so I can find the piece in my collection. It could, for instance look like this:

Location number as it looks in the Baltic and Burmese collection:

ALD.Ba.Can3 - Anders Leth Damgaard, box with Baltic amber, in alphabetical order: Cantharidae, piece number 3
ALD.Bu25 - Anders Leth Damgaard, box with Burmese amber, piece number 25

Unique number:

ALDC0274 - No matter what type or part of the collection the piece is from, then the unique number is a number that increases by +1 for each new piece inscribed in the collection.

But to get an overview of the collection, and to add data such as purchase price, which mine or taxonomic information, I make a catalog of the collection in exel.

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