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Arthur Reeves
Arthur Reeves
Arthur Reeves
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Arthur Reeves (c. 1837 – 1915) was an English football manager who managed Stoke.[1]

Key Information

Career

[edit]

Reeves was born in Stoke-upon-Trent and took over as manager of Stoke in January 1892 from the departed Joseph Bradshaw.[1] After four months in charge Reeves knew he had a lot of work to do as Stoke finished next to bottom of the First Division in 1891–92.[1] But after a lot of hard work and a lot of effort on Reeves' part, the players responded and at the end of the next campaign Stoke claimed a welcome mid-table position.[1] Reeves' gambled blending local born stars like Bill Rowley, Tommy Clare and Alf Underwood with Scottish imports Davy Brodie, Davy Christie and Billy Dickson a combination that initially worked well. After an 11th-place finish in 1893–94 Stoke had a tough 1894–95 season which saw them enter the end of season test match to remain in the top-flight, they beat Newton Heath 3–0 to see them safe.[1] It was not enough to keep Reeves in charge of Stoke and he was replaced by the club's goalkeeper, Bill Rowley.[1]

Career statistics

[edit]
Managerial record by club and tenure
Team From To Record
P W D L Win %
Stoke[1] January 1892 May 1895 96 37 14 45 038.5
Total 96 37 14 45 038.5

References

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Arthur Reeves

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''Arthur Reeves'' is an American cinematographer known for his work in the silent film era and the transition to sound films during the early 20th century. Born on May 1, 1892, in Illinois, USA, Reeves began his career at the Chicago-based Essanay studio and contributed to numerous productions, including notable credits such as Wings of Adventure (1930) and Untamed Justice (1929). His career spanned the formative years of American cinema, capturing the technical and artistic evolution of cinematography in that period. He passed away in 1954.

Early Life

Birth and Background

Arthur Reeves was born on May 1, 1892, in Illinois, United States. His full birth name was Arthur Edward Reeves. No further details about his family background, parents, siblings, or early childhood experiences are documented in reliable sources. His pre-professional life remains largely undocumented prior to his involvement in the film industry.

Entry into the Film Industry

Arthur Reeves began his career at Essanay Studios in Chicago, Illinois. This role at the Chicago-based studio provided early experience in motion picture production during the silent era. Specific details about his initial positions, exact start year, or progression to cinematographer are not documented in reliable sources. His early work at Essanay laid the groundwork for a career that later involved various studios as the industry evolved.

Silent Era Career

Early Credits (1920s)

Arthur Reeves' early cinematography credits in the 1920s marked the beginning of his prolific work in silent films, starting with The Misfit Wife in 1920. He quickly became active in the industry, contributing to a range of features and occasional shorts, often in low-budget or independent productions. His work during this period included diverse genres, with notable examples such as the western Wild Bill Hickok (1923), action-oriented titles like Galloping Vengeance (1925), and later entries including The Dead Line (1926) and Untamed Justice (1929). In several projects, particularly from the mid-1920s onward, he received credit as Art Reeves, as seen in films like The Dead Line (1926), The Stronger Will (1928), and Women Who Dare (1928). These early assignments, primarily silent-era features, demonstrated his steady output and involvement in Hollywood's independent filmmaking scene before his later studio affiliations.

Transition to Sound

Arthur Reeves transitioned to sound cinematography during the late 1920s and early 1930s as Hollywood adopted synchronized dialogue and music following the success of early talkies. His credits in this period include early sound productions such as The Swellhead (1930), Wings of Adventure (1930), Sunny Skies (1930), and The Medicine Man (1930). These films mark his involvement in the early sound era before he concluded his active cinematography work around 1930 and shifted focus to manufacturing motion picture equipment, including microphones.

Hal Roach Studios Period

Cinematography for Laurel and Hardy Features

Arthur Reeves is not credited with cinematography on any of the major Laurel and Hardy feature films produced by Hal Roach Studios during the 1930s and early 1940s. The primary cinematography for titles such as Babes in Toyland (1934), Bonnie Scotland (1935), Our Relations (1936), Way Out West (1937), Block-Heads (1938), A Chump at Oxford (1940), and Saps at Sea (1940) was handled by Art Lloyd, often with contributions from Walter Lundin or other studio cameramen. Reeves' documented work as a cinematographer focused on earlier productions from the silent and early sound periods, with no verifiable involvement in these Laurel and Hardy features.

Work on Our Gang Shorts

Arthur Reeves' cinematography career, spanning the silent era and early sound period, does not include any credited work on the Our Gang comedy shorts produced by Hal Roach Studios. Sources detailing his filmography, including credits for films such as Wings of Adventure (1930) and Untamed Justice (1929), show his associations with studios like Essanay, Metro, Universal, and FBO Pictures rather than Hal Roach productions. No verified records indicate involvement in the Our Gang series during the 1930s or any other period.

Other Hal Roach Productions

Arthur Reeves is noted in connection with Hal Roach Studios for his Artreeves (or Audio-Camex) sound-on-film recording system, which was used for sound in certain productions, particularly foreign-language (Spanish-language) versions filmed there. Reeves was an inventor and promoter of portable sound equipment in the early 1930s, originating the Audio-Camex system, but there are no records of cinematography credits for him at Hal Roach Studios.

Later Career

1940s Credits

Arthur Reeves had no known cinematography credits during the 1940s, as his documented film work concluded in 1930. His final credited projects include Wings of Adventure, Sunny Skies, and The Medicine Man, all released that year. With the end of his major contributions in the early sound era, no further professional cinematography roles appear in available records for the subsequent decade. Reeves remained out of credited film production until his death in Hollywood on October 10, 1954.

Final Projects

Arthur Reeves' cinematography career concluded in 1930, with his final credited works appearing in several low-budget features that year. These included Wings of Adventure (1930), an aviation drama, as well as The Swellhead (1930), Sunny Skies (1930), and The Medicine Man (1930), where he was credited as Art Reeves in some instances. He also contributed uncredited photography to Sunny (1930). No further cinematography credits are documented after these projects, indicating the end of his active work behind the camera. Reeves later remained connected to the motion picture industry through Art Reeves Motion Picture Equipment and Camera Supply Company, which advertised in trade publications such as American Cinematographer during the 1940s and 1950s. He died on October 10, 1954, in Hollywood, California.

Personal Life

Family and Private Life

Little is known about Arthur Reeves' family and private life, as reliable biographical sources and industry records focus exclusively on his professional contributions as a cinematographer without mentioning personal relationships, marriage, children, or residences.

Death and Legacy

Death

Arthur Reeves died on October 10, 1954, in Hollywood, California, at the age of 62. No specific cause of death or additional circumstances were reported in available industry records. His passing came more than two decades after the conclusion of his active career as a cinematographer in the early sound era.

Recognition and Influence

Arthur Reeves' contributions to cinematography have received limited mainstream recognition, primarily due to his work on lesser-known productions during the silent and early sound era. No major awards or industry honors are documented for his career. Posthumous appreciation remains niche, primarily among enthusiasts and historians of early American cinema, with no prominent modern retrospectives or restorations highlighting his individual influence.
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