The idea of replacing the typical air environment surrounding an artifact with one lacking in oxygen has remained a tantalizing yet understudied means of limiting light-induced fading for colorants. Previous work on limited sample sets has indicated the potential benefits of anoxia, but also exposed the possibility of photo-reductive fading. This study builds upon this knowledge by widening the scope of materials subject to examination in order to better define the advantages and limitations of anoxic storage and display. Following a feasibility trial examining ISO Blue Wool standard cards, the study investigated the influence of oxygen on color fading of 46 pigments and 9 natural history materials. Irradiated for 17.5 million lux-hours, samples were housed in air and anoxic environments with temperature and relative humidity tightly controlled for both sets. The color difference (or δE) of each sample was determined by pre- and post-exposure spectrophotometric analysis. The vast majority of samples displayed a reduction in anoxic light-fading relative to those exposed in air. While mean δE values (1994 calculation) for air samples ranged from 0.7 (Red Lead) to 41.3 (Mauve), the mean δE range for anoxic samples was much narrower, extending from 0.4 (Lac with Alum) to 15.3 (Brazilwood with Potash). The δE_Air : δE_Anoxia ratio also exceeded 1 (1.2 for Prussian Blue to 29.7 for Zinzania (grass)) for all but 4 samples – only Red Lead (0.5), Verdigris (0.5), African Grey (feather) (0.5), and Rose Madder (0.8) exhibited ratios below 1, indicating a larger color difference in anoxia.