Because of his lengthy screen resume that includes almost eighty appearances in such movies as Camille and Waterloo Bridge, as well as a marriage and divorce to actress Barbara Stanwyck, Robert Taylor was a central figure of Hollywood’s classical era. Despite this, he can be regarded as a “lost” star, an interesting contradiction given the continued success he enjoyed during his lifetime. In Robert Taylor: Male Beauty, Masculinity, and Stardom in Hollywood, author Gillian Kelly investigates the initial construction and subsequent developments of Taylor's star persona across his thirty-five-year career. By examining concepts of male beauty, men as object of the erotic gaze, white American masculinity, and the unusual longevity of a career initially based on looks, Kelly highlights how gender, masculinity, and male stars and the ageing process affected Taylor's career. Placing Taylor within the histories of both Hollywood’s classical era and mid-twentieth-century America, this study positions him firmly within the wider industrial, cultural, and socioeconomic contexts in which he worked. Kelly examines Taylor’s film and television work as well as ephemeral material, such as fan magazines, to assess how his on- and off-screen personas were created and developed over time. Taking a mostly chronological approach, Kelly places Taylor’s persona within specific historical moments in order to show the complex paradox of his image remaining consistently recognizable while also shifting seamlessly within the Hollywood industry. Furthermore, she explores Taylor’s importance to Hollywood cinema by demonstrating how a star persona like his can “fit” so well, and for so long, that it almost becomes invisible and, eventually, almost forgotten.

Robert Taylor was one of Hollywood's biggest stars for over thirty-years and starred in such classic films as Magnificent Obsession, Camille, A Yank at Oxford, Waterloo Bridge, Johnny Eager, Quo Vadis, Ivanhoe and The Last Hunt. He worked with the cream of Hollywood leading ladies: Irene Dunne, Joan Crawford, Greta Garbo, Vivien Leigh, Lana Turner, Katharine Hepburn and Barbara Stanwyck, who he later married, just to name a few. An open and friendly man who usually tried to avoid controversy, Taylor stepped into it when he became a so-called friendly witness appearing before the House Un-American Activities Committee during the height of the Washington investigations into alleged Communism in Hollywood. It has haunted his reputation to this day. A happy second marriage to actress Ursula Thiess produced two children and gave Taylor a contentment he lacked in his earlier marriage. Author Charles Tranberg takes a fresh look at the actor who was once called, "The man with the perfect profile." This book also takes a fascinating look at the Hollywood Studio system which existed during Taylor's hey-day.

"Ellen Weiss breaks important new ground in her remarkable monograph on Robert R. Taylor. This volume is by far the most detailed account we have of an African American architect. Weiss vividly conveys the immense challenges faced by black architects and professionals of every kind, especially during the rise of Jim Crow. Along the way we get myriad insights on architectural education, architect-client relationships, and the development of a major institution of higher learning."--- Richard Longstreth, George Washington University "Architectural historian Ellen Weiss's book provides a wealth of little-known factual information about Taylor and a scholarly historical analysis of his many contributions in architectural education and professional practice. A must-read for anyone with an interest in architecture and a certain reference for every architecture student."--- Richard Dozier, Dean, Robert R. Taylor School of Architecture & Construction Science, Tuskegee University "Robert R. Taylor's place in history as the first academically-trained African American architect has been well known, but an authoritative assessment of his contribution to American architectural and planning practice has remained elusive until now. Weiss deftly interweaves the story of the Tuskegee campus with an examination of Taylor's pedagogy and the plight of black architects in the early twentieth century."--- Gary Van Zante, Curator of Architecture and Design, Massachusetts Institute of Technology

"With an almost encyclopedic knowledge of the historic underbelly of Galveston and a ringing feel for dialogue, Long Fall From Heaven carries us along on a sordid yet seamless narrative of murderous mayhem." —Craig Johnson, author of the Walt Longmire Mysteries Cueball Boland and Micah Lanscomb—both ex-cops with troubled pasts—stumble into the path of a serial killer. The murderer leads them into the dark history of Galveston when the city was Texas’ Sin City. The killer has roots sunk deep into that history, but the FBI and the old Galveston families don’t want Cueball and Micah to solve the crimes. Listen closely. There’s an echo of another serial killer who stalked the city back during World War II. George Wier writes like he talks: Texan. In the 1990s he befriended the older novelist Milton T. Burton and the two became close friends. In 1998, Burton, worried about his health, told Wier this story and asked him to be his collaborator and principal writer. The two friends talked back and forth, and Wier wrote the novel. Meanwhile, impatient with the publishing industry, George Wier has very successfully e-published his Bill Travis Mystery Series. He plays classical violin and country fiddle, dabbles in art and photography, and is a born promoter of all that he does. This is his first trade-published novel. He lives in Austin, Texas with his wife Sallie. Milton T. Burton (1947-2011) authored four crime novels published by Minotaur/Thomas Dunne. Like Wier, Burton was a lifelong Texan who breathed the Texas lingo. Burton had been variously a cattleman, a political consultant, and a college history teacher. A cantankerous but generous man, he liked writing and he liked talking to his friends, especially George Wier. He died in December 2011.

A collection solely devoted to Robert Taylor's maritime paintings, accompanied by anecdotal commentary on each piece by the artist. Over 50 works are shown, together with a collection of pencil drawings.