Vintage Lighting Really want a bunch light.

ship

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I consider myself lucky to have found a c.1916-1922 1Kw. Olivette (or Olivette dependant on the book), that is pre-Alzark reflector process. This much less in finding an A-Lamp 100w. version of a box spot c.1910-1916 and it cannot be other than that in dateline - more towards the earlier in both cases by way of tracking the lamps available verses the fixture type for dating.

Yes fortunate to have an example of each, plus some PC fixtures from the era, but I want that Olivette before the 1Kw version came out in matching up to the new 100w box spot. This is more a start of the incandescent era I collect than anything else. Only had 100w lamps, than the 250w globe lamp, the 400w, 1Kw than 2kw Globes followed in the 1910 thru 1916 period in getting up to 1Kw and 400w. The 2Kw lamp came later still.

Such bunch light wash fixtures I think long gone and nobody will ever see them again. Imagine a “bunch lightOlivette concept (it’s a rectangular scoop.) In the case of a bunch light, it’s a bunch of 100w lamps arranged so as to reflect in the fixture in providing a wash. Lots of pictures in Fuch’s 1929 London of the concept including a 12 lamp version for the Munich Electrotechnical exposition in 1882. Footlights, side lights and boarder lights also, but who has room to store them? The really old Olivette is what I want.

The 1916 Chicago Stage Lighting Catalogue (on this site’s WIKI) shows a few versions of it with metal shells in up to 12 lamp in some interesting configurations. The lamps in the photo are not the pinched top nostalgic type either. No table for lamps but by 1916, I would expect up to 150w for an A-19 size.

Getting back to my early Kliegl Olivette, I believe it’s size, shape and style are following the original wood style of construction for the bunch light. Chapter seven of Fuch’s book, P.272 for those following along of the GB. 1929 publication has a small chapter on building your own. My used book even has a pencil lined 13.1/8" measurement in it to the bottom of the PS-52 lamp in the drawing. Suppose they were making an asbestos lined version. “But it should never exceed 18" x 20" in its outside front dimensions, as this is the size of the color frame that accommodates the largest available sheet of gelatin color media.”

For multi-lamp versions, 1" between the globe and gel frame with ventilation roughly. Ventilation with baffles similar to that used on the spotlight in another chapter for a wooden one.

Fuch’s recipie, ½" thick lumber for the sides (Plywood wasn’t yet on the market), and 1" for the top and bottom - Nominal lumber sizing was in place but it was thicker. 1x1 corner cleats to strengthen the frame - though not known if inside or outside the frame - most likely outside and cut to the angle.

The 1" thick lumber at the top and bottom was useful for mounting and for routing or cutting gel frame slits. Shows added lumber in this gel frame slot, or bent steel. Recommends asbestos paper for a liner for the fixture inside both as a heat sink/fire shield and a reflector I think and by today’s standards that cannot be done. On the other hand, McMaster Carr does offer Ceramic sheets that could replace that necessity. 8499K115 in 14"x10"x1/16" thick than could become a design concept for such a fixture.

Later in the chapter, it recommends a ten lamp version if not going 1Kw lamp and more or less follows a German practice for several circuit bunch lights with dipped different color lamps. Such lamps and sockets are mounted to the top and bottom of the fixture by way of 1/2x3" strips of lumber.


Ok, given a base of the Olivette in shape, and the McMaster sheets, that’s a good starting point. Further early lumber thicknesses help also as with how to mount it in other chapters. This I think I can do in 12 lamp bunch light given it's not yet designed for gel sheet maximum size. Now for the tips in doing so or any debate of doing so in adding it to the collection. “Inspired by...” Also for dating it... 1929 is the book in telling how, but this is a pre-1916 type of lighting fixture. Thoughts?
 
I think this is a grand idea. The thought processes and math can all go into the instruments we know of that no longer likely exist, but having something tangible that is close to the real thing is completely different. It's wonderful, your dedication to the history. Being able to see, test, and inspect a specimen as close to the original as allowed will, I think, add great value to those who study the history of such things in noting the vast advancements, as well as those concepts which have phased in and out with time or not at all and are still foundations on the current generations. Simply amazing, I can't wait to see it.
 
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Cool and thanks. Not insane persay? Wife says something like a repete of a "yes dear" I often say to her with her own interests. ISU lighting Dpt. scheduling for a visit early next year already with more local schools to work on. How otherwise to start with the actual Olivilitte unless with the Bunch Light in tour?

Plywood wasn't invented yet I think still, and 1/2" side walls attached together by 1x1 strips that I just cannot see in doing. Assuming I need say at least 12" wide sheets of 1/2" lumber to make it up - edge glued or not - and for display purposes probably oak I would want to go. Corners reinforced by what? How did they attach those asbestos pads? Was it really 2" square surface cleate mount versions of lamp sockets, or were they screw cover for wiring types I would think? Got lots of details to figure out and answer in such a fixture design beyond angle of it.

That said, I'm stepping up the Corporate, work orniment ahead while I study the other for a while. Goal for me is to make a Cyber 2.0 for the corporate X-Mass Tree. A few years ago I made some oak cans and Lekos. This year given a color changing MR-16 lamp, and a micro selenoid plus inspection mirror.. My goal after I finish a 50's era R&V scene machine, is to the orniment, than in getting back to the bunch light amongst other projects.
 
Re: "

It might be wise to remember that John and Anton Kliegl were metalsmiths in the old country Germany before coming to America ~1890 and finding work at a stage lighting company. Highly doubtful they would have made anything out of wood, other than perhaps knobs.
 
Re: "

It might be wise to remember that John and Anton Kliegl were metalsmiths in the old country Germany before coming to America ~1890 and finding work at a stage lighting company. Highly doubtful they would have made anything out of wood, other than perhaps knobs.

I did await your thoughts on this concept or idea. I'm a meal smith for my own extent and or have a metals shop that works with me on such things.

Did also note in Fuch's concepts for metal work, and in the 1916 catalogue that it was metal.

Question now becomes, metal in able to do so, or home built in wood. Derek, you know of my wife and her tascid approval of it means adventure for me in otherwise I would be waiting.

Theoretically I could do either version fairly easily either by way of me or the metals shop assisting.

A vote on such a concept in me considering as it's an over the winter project.

For me so far thinking that this is home built gear in following the guidelines of building a home built gear fixture. This is from wood.

On the other hand, I have the ability to make it out of metal and have a fabrication shop at my call to assist in doing so. Only problem that I have with that is that it's metal and based on assumption off an existing metal fixture in being the same. Yes overall assumption but than further assumptions of where other stuff was located in replicating. This instead of where I'm leaning, using the shape that is perhaps stock in angle, but reproducing a home built piece or gear instead to period but out of wood. Same fixture type and I'm sure there were both out there. None I think exist any longer.

Kind of a vote type thing perhaps in making the metal version that I would probably stipple for ceramic reflector, verses use the ceramic insulator for a reflector with wooden frame. I lean towards the wooden frame in slanted post, but note Derek's concepts also as vaid.

Really early stage lighting is very difficult to figure out or in this case make. Gona make one, how would you go?
 

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