ARRI 2KW Fresnel Cinema Spotlight Floor Lamp | 1950s Arnold & Richter Munich in Original Grey Paint on Original ARRI Wooden Tripod
ARRI 2KW Fresnel Cinema Spotlight Floor Lamp | 1950s Arnold & Richter Munich in Original Grey Paint on Original ARRI Wooden Tripod
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A 2KW Fresnel cinema spotlight by Arnold & Richter of Munich, from the 1950s, in its original grey paint and with a deep, honest patina. It stands on an original ARRI wooden tripod, so lamp and stand come from the same maker. The reflector mirror is still inside, and the lamp holder slides on a rotary knob so the beam moves from spot to flood.
At a glance
| Manufacturer | ARRI (Arnold & Richter), Munich, Germany |
|---|---|
| Model | 2KW Fresnel studio spotlight |
| Period | 1950s |
| Finish | Original grey paint with strong patina and signs of use. Fully cleaned and renovated |
| Lens | Fresnel lens |
| Reflector | Original mirror still in place inside the housing |
| Beam control | Rotary knob moves the fitting for a beam from spot to flood |
| Switch on body | Original switch still present but not connected, with damage visible in the photos |
| Wiring | Rewired for modern home use, E27 fitting, approx. 3 m (9.8 ft) cord with inline switch and EU plug |
| Bulb | Included |
| Tripod | Original ARRI vintage wooden tripod with chain between the legs |
| Spotlight dimensions | 63 x 48 x 46 cm (24.8" x 18.9" x 18.1") |
| Lowest height | 150 cm (59.1") |
| Highest height | 215 cm (84.6") |
| Availability | One of one, once sold this exact piece will not return |
| Import duty | Payable by the buyer in their own country (outside the EU) |
The story
ARRI takes its name from its founders, August Arnold and Robert Richter, two young cinematographers who started in Munich in 1917 and took the first two letters of each of their surnames. The company went on to build cameras and lighting that became standard equipment on film sets across Europe and beyond, and the nameplate on this spotlight still reads Arnold & Richter, München.
A Fresnel spotlight is built around a lens made of concentric steps, an idea developed for lighthouses that lets a thin, light piece of glass do the work of a thick one. Behind it sits a mirror that sends the lamp's backward light forward. Moving the lamp holder closer to or further from the lens changes the beam, from a tight spot to a wide flood, and this one does it with a rotary knob on the side of the body. On a film set, a gaffer would make that adjustment between takes.
This example is a working piece of that world. The housing is still in its original grey paint, with a deep patina and the marks of use. The mirror inside is intact and the lens is in place. We cleaned and renovated it fully.
It stands on an original ARRI wooden tripod, built by the same company for its own equipment, with a chain between the legs. Together they form a matched set that extends from 150 cm to 215 cm.
The restoration
The spotlight was fully cleaned, renovated and rewired for modern home use, with an E27 fitting, about 3 metres of cord, an inline switch and an EU plug, and a bulb is included. The original switch on the body is still there, but it is not connected, and it is damaged, as you can see in the photos.
In your interior
At up to 215 cm this is a lamp with real presence: a statement piece for a loft, a studio, a restaurant, a bar or a hotel lobby, where its size and grey patina stand against raw walls, brick or concrete.
Suited to collectors of film and cinema history, interior designers and architects looking for a true statement lamp with an authentic industrial surface, and anyone who wants genuine professional film equipment in their interior.