#facial in hobart | Explore Tumblr posts and blogs

k1ngpin42 · 8 months ago

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𝙰𝚛𝚝𝚑𝚞𝚛 𝙼𝚘𝚛𝚐𝚊𝚗 & 𝚃𝚑𝚎 𝚐𝚘𝚟𝚎𝚛𝚗𝚘𝚛𝚜 𝚍𝚊𝚞𝚐𝚑𝚝𝚎𝚛 (𝚛𝚎𝚊𝚍𝚎𝚛 ;)

Warnings: 18+, smut, oral (giving & receiving) s3x, fingering, handj0b, soft & rough Arthur, gentlemen Arthur, V!rgin reader

Notes: I know you guys voted Sub Abby, ✌𝓢𝓤𝓑 𝓐𝓑𝓑𝓨 ✌ WILL BE POSTED NEXT I had been working on this Red Dead project a while ago so I hope you don’t take it too negatively. Thanks for all the support I’ve had so far, it means a lot that people can enjoy my work (even if it’s mostly smut.)

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Notorious outlaw Arthur Morgan, who has been forced into a tight, high end tux in a crammed, high end place hates everything about this party Dutch made him attend. That is until he meets a fancy woman, (you) who isn’t as dull as he originally suspected.

PLEASE NOTE: there’s no fluid 1850s language used so don’t be upset if there’s some modern slang or anything I’m just writing cause I’m bored.

Some Y/N is mentioned, I try to avoid Y/N at all costs but there was no way around it this time, I’m sorry guys but it’s only a few times so dw.

The mission was practically a laughing matter- being that the guest of honour was a drug lord and that Arthur and the others were all outlaws who wouldn’t know which utensil to use at dinner to save their life, which glass to drink from or their name, how to feel normal in a suit, how to not steal every beautiful piece of decor they encountered and how to even speak with all these…well-read, well off folk.

The mission itself seemed simple enough. Talk to the governor, make a good impression and snoop around. Having to give the doormen their weapons was just another reminder of how far out of his comfort zone he was.

When the champagne was offered Arthur immediately took a glass, looking over the porch and subtly acknowledging Dutch beside him. Bronte greets them warmly and starts pointing out and mocking some of the party guests, including Mayor Henri Lemiux, Alberto Fussar, Hobart Crawley and his wife Brenda. Once the group seperate, Arthur makes his way to the main floor.

“Okay…” Arthur mumbled to himself, grimly. “Mingle…” He looks around the crowd. There are people dancing, talking, making out of course, He doesn’t know where to go first. That is until he hears you talking to some man.

“You…flatter me.” You tell him, clearly lying. “However I am…reserving my dance for another…” You say, quickly. Arthur turns to face you and see’s the most beautiful gown he’s ever seen. It’s a white corset that extends down into an ocean of subtle ruffles. The material looks stiff and the bottom has specks of gold.

The man in question is overweight and if he was being honest, smelt rank. He felt sorry for you, whoever you were, he had suspected you were dragged to this thing too, fancy dress and all.

“I don’t see him.” The man said, putting his arms around your hips. You carefully remove them and he grabs your arm tightly.

“Where you goin’ princess?” He says, and something in Arthur almost snaps, he wants to snap. He knows he can’t make a scene so he walks behind you, whispering in your ear. His warm breath and the unexpectedness of it all initially makes you flinch, but ANYONE would be better than this slag. You had seen him get handsy with almost every female employee here and on the streets you had heard him getting creepy with fucking children. Thankfully it hadn’t escalated, at least so far.

“You alright miss?” Arthur questions in your ear. You turn over to look at him. He’s tall and awful handsome, not like any men you had seen at the party so far. He had gorgeous eyes of Atlantic blue and his hair was…almost perfect. It looked like whatever product he used was far from his regular style as the parting was all over the place, but his jawline and minimal facial hair tied the look together.

“Uh…here he is.” You said, stunned at your own words. He looks at you icily. “Uh….That’s not-“

“Who is that? I ain’t seen him before.” The man yells at you, completely ignoring Arthurs existence. Arthur sighs.

“I’m her…partner….tonight anyway.” You nod.

“Exactly, and I owe him a dance so if you don’t mind.”

“Fuck you, how would your daddy react to you dancing with some nameless stranger?” The man groans at you. You roll your eyes.

“Go hang.” You say, quietly, but Arthur still hears it and his eyes widen, impressed.

“He gon’ hear about it from me just you wait”

“Looking forward to it.” You tell him, and the man goes off somewhere. You let out a groan, covering your eyes in embarrassment.

“I am so sorry Mr…?”

“Uh...that’s not important. And you’re welcome. Who was that?” He asks. You sigh.

“Not important.” You grab his hands and start swirling around and his face flushes red.

“Miss I…ain’t much of a dancer.”

“Well it would be a damn waste not to dance after that little facade.” He looks at you, a little confused, but nods.

“What brings you here anyway?” You ask, his large hand on your waist, the other in your gloved palm. Arthur can’t help but smile, still taking in your figure.

“My friends and I were invited by Bronte, he’s a guest here.”

��I see. So you’re here to make impressions?

“Or some such thing.” He replies, still blushing like an idiot. You talk for a little while, swaying to the music, talking about everything and nothing as if he’s the most trustworthy person out there.

“I hate going to these things.” You tell him, a little worried you had ruined the weirdly peaceful atmosphere the two of you had been experiencing. He nods, watching you intently while still trying to maintain rhythm.

“You look like a million bucks. I would have assumed you were made for these things.” He stumbles.

His lack of fluidness when talking was weirdly attractive, it brought a sense of comfort which you rarely felt, especially with his accent.

“In a way I was made for it…these parties are my life whether I like it or not.”

“I couldn’t imagine it.” Arthur blurts out, and you look up at him with curiosity.

“I knew you weren’t a noble.” You say with a grin. He rolls his eyes playfully.

“Why? Do I smell like poor folk?” You laugh at his comment.

“No, no the camp smell is…luxurious.” “I’ll have you know I bathed before I came here.” He replied defensively, causing you to laugh more. This banter went on until he spotted Lemieux.

“Excuse me.” He says, not even waiting for the dance to end before approaching your father. The mayor's butler, Pierre appears and tells Lemieux that he received a phone call from Leviticus Cornwall. Another man with greasy black hair overhears this and has Arthur follow Pierre to find out about it.

Being as cautious as you can, you slip through and follow Arthur to see what he’s doing. You watch him follow Pierre into an office and enter it once Pierre leaves. Arthur starts trying to unlock the door when you come in.

“So you’re not just not a noble, you’re a thief.” You remark, causing him to spin his head around to face you.

“Miss…” He tries. You roll your eyes.

“Save it. What are you even looking for?”

“Look, this is all just a misunderstanding, I’m sure if you just let me go, we can both forget this ever happened, I’ll be on my way and you can go back to your life of parties.” He tries, lowering the document in his hand.

You walk over to him, leaning over his shoulder to see the document.

“Wow.” You say, unimpressed. He looks at you guiltily.

“Look, I’m sorry miss, you seem real nice and I meant no disrespect by coming here and…acting all decent, I’m just doing what I’m told.” He tries, his voice sounding like a plead at this point.

“Mmm, what Dutch Van Der Linde told you to do, right? He was that man with the excessive hair pomade and the…vests. I’ve heard about him.”

“What?? You know of me??” Arthur demanded. You put a soft, gloved hand to his mouth.

“Shhh, do you know how much trouble we would be in if we were discovered in here? I had suspected you were an outlaw but the only one I recognised was Dutch and Bronte.” Arthur isn’t paying attention to your words so much as he is the warm hand on his mouth.

“Who are you?” He asks. You shake your head.

“What are you going to do with the papers?”

“Look, it isn’t really business for a lady to-“ You glare at him and he fumbles his words again.

“Not to say a lady can’t…my meaning is-“

“So a robbery?” You interrupt, unimpressed by his long winded explanation. He sighs.

“St Denis is a big city…it don’t need quite so many vaults in that bank they have secured up real nice.” He says. You roll your eyes,

“You can not be that foolish. Doing any sort of crime in St Denis is suicide unless you have a bullet proof escape plan and I’m sorry but I smelt your bullshit from a mile away.”

“You have quite the tongue for a lady.”

“And you are just…something else for a gentlemen.” You retort.

All of a sudden you hear the jittering of keys at the door and you and Arthur exchange a look of panic.

“Oh Jesus.” Arthur mutters and you roll your eyes.

“Swearing isn’t helping, outlaw. Try that window.”

“I have a name-“

“Then say it.”

“It-“ He groans, wondering how the fuck he got into this situation and why he was involving himself with a random woman. A beautiful and intelligent one at that, one who definitely challenged him in a way he enjoyed, but also one who was getting in the fucking way.

“It’s Arthur…” He pauses, turning to look at you when he reaches the window. “Morgan.” He adds.

The window won’t open and so you shove the document back into the draw and lean Arthur against the window, pressing your mouth against his aggressively. He was clearly shocked, and who wouldn’t be? But still, almost like an instinct, his lips parted and his tongue moved skillfully through your mouth. Henry Lemieux walks in an audibly gasps.

“Y/N Lemieux what the hell are you doing?”

“Oh, I’m so sorry father I…let me explain.” Arthurs ears burn at this. Father??

“You listen here little girl, I have told you NEVER to go in here. What’s gotten into you? And on such a significant night with some stranger??”

“My rooms always guarded and I just wanted some privacy. Arthur and I have been seeing each other for some time but I knew I couldn’t take him here. I’m sorry I let you down this is just the only place I knew there wouldn’t be workers.”

He sighs. “I understand there are a lot of rules in this household that may make you…may make it feel like there’s not as much freedom as ideal but it’s to protect you! You need to be more careful with strangers.” He yells, walking over to Arthur.

“Mmm, Bronte invited you I take? I don’t know you otherwise and I know anyone who’s anyone, meaning there’s no way you’re good enough for my daughter. Did you try and take her honour? Is that it?”

“We were just talking, that was our first kiss father honest it was.” Arthur puts his hands up innocently, nodding at your comment. Henry lets out an annoyed gush of air..

“I want you both out of here, we will discuss your punishment later, my daughter.” You nod and drag him to your room, waving at the guards there to fuck off. They stare at you blankly.

“Men are not allowed I-“

“My father just allowed it, but if you don’t trust me, you can go bother him in his study, I’m sure he’d be thrilled.” You tell one of them, annoyed. He nods and the guards head downstairs. You close the door and Arthur is just looking at you, wide eyed. He turns to the door and you sigh.

“I’m…not allowed locks.” You explain. He doesn’t say anything.

“So…” You say. He angrily paces around the room.

“What the fuck…what the fuck??”

“Calm down Mr Morgan.” You say, unphased. He glares a you.

“Calm down?? I did more than just fuck up. I exposed my whole fucking plan to the governors daughter just because she was a pretty face I- fuck, this was a bad plan.” Arthur mumbled to himself. You smile slightly.

“You think I’m pretty?”

“I got to go…” He says, reaching towards the door. You walk in front of it.

“Why?” You ask, plainly.

“What?”

“Why do you have to go?” You question, He walks closer to you, his eyes darting around the room nervously.

“Well you’re just gonna tell your dad won’t ya?”

“Oh yeah cause I just lied for fun Mr Morgan that’s a real bright comment.”

“Well why else would you do it? You don’t know me.”

“You’re an outlaw. Slightly naive, perhaps, but you, hair pomade and whoever else is in your group, you do anything you can for family. Even utterly foolish things such as breaking into the governments office and robbing the most secure bank in this country. I’m not going to inform my father. I can respect what you were…trying but if you try that whole St Denis thing, you can rest assured you will be walking into your own damn funeral.”

“Well what else would you suggest then, miss?? In case you haven’t noticed, men like me don’t get good paying jobs, unless it’s for folk like you who would never hire us.”

“Trains, small stores, homesteads…” You pause. “boats.”

He raises an eyebrow.

‘You’re encouraging I steal, my lady?” You practically snort at his comment.

“In essence. People ‘like me’ don’t REALLY need those gold emerald earrings or platinum laced watches. It’s less stealing than it is…balance.” You say, matter-of-factly. He can’t deny how impressed and surprised he is by you. A government daughter, gorgeous, smart, fancy as hell but most importantly you didn’t hate him, and that meant more to him than words could measure.

“The grand Korrigan holds high end poker games. It’s easier than you’d think to sneak on, I’ve done it myself, it’s in Lemoyne.”

“W- I’m sorry, you snuck on to the grand Kerrigan….in lemoyne?”

“I heard my father talk about it. I was bored.”

“Why would you help me? I mean isn’t it against your father in some way?”

“How I see it, you were going to do this anyway, I’m not helping at all, simply telling you where it is so that you don’t go kill yourself at the bank. If I were to…accompany you, then perhaps I wouldn’t feel inclined to tell my father you were in there to steal copies of the deed my father was going to sign.”

“Okay woah, slow down my lady-“

“You really don’t have to call me that…”

“I really do. Now listen, there is no way we’re getting involved with the governers daughter, I’m sorry that you get bored dressing up like a doll 3 times a day and having guards around you but that’s no excuse to go commit crimes…”

“I won’t be committing them, you will.”

“Still, I don’t want to be liable for you.”

“Wow…romantic.” You say, sarcastically. He sighs.

“That’s not what I mean it’s just….the answer is no.”

“I’ve snuck on before, I know heaps of ways to sneak in and out of this city as well several others. When you can’t leave town there’s nothing else to do but learn about everyone else’s business. I guarantee I could get you into anywhere. Plus I cn protect myself, I’ve been trained in combat since I was 14.”

“But why?” He asks. But he doesn’t need to. He knows the answer. He felt it when you guys first touched and again when you first kissed. He felt it now knowing you’ve seen through him and didn’t want to look away. You weren’t frightened or repulsed and neither one of you wanted to part each other. It was unexplainable. You barely knew each other.

“I can’t keep letting my life slip away in this meaningless existence. I want adventure, love I don’t know…I know I’m stupid for think-“

“Don’t talk about yourself like that sweetheart” Arthur says, putting a hand on your face.

“We shouldn’t do this.” He says, dragging his thumb over your lip and making it part slightly. You nod.

“It would be reckless…we would be naive to think we won’t get caught.” You breathe out. He nods.

“We would probably…” Arthur paused, his accent thick in your ears. “get as far as the gate before everything goes sideways, not to mention the gang would never accept you.” You nod back.

“exactly.”

“Exactly.” He says, putting his other hand on your face and kissing you deeply.

———————————Smut——————————————

You can taste residue of the sweet, bubbly champagne he had drank only moments earlier mixed with the metallic taste of his being. Having someones tongue in your mouth and particularly a man who was anything but inexperienced was unusual to say the least, but a feeling you welcomed as he eagerly explored and savoured your taste now too.

You walk back with your arms still wrapped around his neck, kissing him roughly. You flinch slightly when you bump into the end of your bed. You hesitate for a moment, looking into his pretty eyes again before internally making a decision and climbing onto your bed. He tilts his head, admiring you fondly.

“Now Miss, I don’t think we should rush this, you’re a woman. To be…I don’t know…cared for or somethin’. Me? I’m a bad man.” Arthur hesitates. “A rough man.” He corrects.

“It’s okay Morgan, I’m not a little girl, I can handle it.” He walks away from the bed and paces for a while. You decide to reassure him with more than just words this time and remove your shoes, then you start working on the lace at the back of your dress. Arthur sighs, knowing he won’t be able to avoid all the things he’ll do to you. He’s a good man, somewhere in there. When it comes to women he was more decent than most at least.

“Let me help you with that.” He says, grabbing you by the hips and pulling you so your back is right against the front of his body. He removes it and starts working at your undergarments.

“Do you want to stop?” He asks. You shake your head.

“No?” You say, more surprised at how gentle he’s being with you than anything else. He chuckles softly.

“Just making sure.” He coos before effortlessly removing your undergarments as well.

He flips you around and pushes you so you’re lying spread across the bed. He climbs over you, positioning himself so his knee is between your legs. You feel nervous with your body exposed to him like this. He starts tracing your body with his finger tips.

“You’re god damn gorgeous.” He remarks, cupping one of your warm breasts which you were embarrassed at how quickly the nipple on it hardened under his touch. He lays soft kisses all over your chest, sucking near your bellybutton which got an excited gasp from you in response. He continues drawing lines across your body with the two middle fingers of his right hand but stops when he reaches your lower area.

“You ever done anything like this before?” He asks, kissing your waistline. You consider lying. “Of course…” You could say, but he’d see right through it. You just didn’t want him to back up and leave because he didn’t want to harm your image. Too fucking gentlemanly to taint a womans reputation, but murder and crime? Now that’s alright.

“Well?” He questions again. You blush, shaking your head.

“No, I guess not.” You admit. You can see this troubles him, but he knows you don’t want to stop, he can tell you’re yearning for it, yearning for him more specifically.

“You know how it all works?” He asks, lowering himself to your thighs and kissing inside. You nod.

“Yeah, yeah I think so.” You reply, your eyes fluttering at the varying sensations your body was experiencing. He nods.

“Sit on my lap, I’m gonna put my fingers in okay?” You do as he says, sitting on his fancy black pants and adjusting yourself so that he’s comfortable. He lets out a light groan.

“God, sorry did I hurt you Mr Morgan?” He chuckles slightly.

“Quite the opposite, stay still I need to be able to control myself.” He instructs, and you feel yourself pooling at his words.

“Do you have water in this room?” He asks, and you look at him confused.

“Uh, yeah, by my nightstand theres a jug, I get thirsty sometimes at night.”

“Be right back.” He says, placing you back on the bed and taking the jug, pouring some water onto his fingers.

“If you’re uh…sort of….tight inside, it feels better with wet fingers.” He explains. You can’t help but laugh.

“You’re not the smoothest man out there Mr Morgan.” You tease. He laughs back.

“Pretty girls have that effect on me.” He delicately guides his two middle fingers between your folds and your pussy literally glistens. You’ve never felt wet for another person before and especially not to this extent.

“Breathe in.” He says as he guides two fingers inside you and you let out a sharp breath. He immediately removes his fingers.

“Too much, my lady?” You shake your head.

“No, no I can take it.” You affirm and he rolls his eyes playfully.

“Sweetheart, I can tell the difference between a painful gasp and a moan. You’re still tight so I’m going to use my tongue to help you relax.”

“What do you mean?”

“Just think of it like a kiss.” He says before putting his tongue inside you. You let out the loudest moan you’ve ever heard yourself make and you put your fist in your mouth, embarrassed.

“Oh my god…” You whisper as he quickens his movements. Then, his nose is bumping up against your clit, his tongue still working other areas.

“Fuck~” You moan. You can guess all your manners and lessons in how to be dignified had gone down the drain.

A man you had met only today, an outlaw no less who was only at the party to steal from your father was giving you pleasure you could never give yourself. It was….interesting.

“Fuck…Fuck Arthur don’t go so fast I’ll…it’s too much…” But Arthurs so fucking into it, tasting you, savouring every orgasmic noise you make for the first time, only for his ears to enjoy. He doesn’t slow down and it’s not long before your pussy pulses in his mouth, your thighs shaking like a damn leaf.

“He gets back up and puts you on his lap again, putting his fingers in your slick.

“Wow, that’s quite a lot sweetheart.”

“I’ve never….well not like that before.” You explain. He nods, putting his fingers inside your significantly looser hole, doing small beckoning motions inside of you. You start breathing heavy again as he pumps his fingers in and out. You cling onto his jacket, already feeling your stomach swell in waves of pleasure. When you release again, he just flashes you a satisfied look.

“I’m gonna take my pants off. You can rub yourself on my thigh first, gotta get you ready for my cock.” You’re flushing red and just let out a small sound of understanding. When you see his half-hard cock in his underwear, though, you are so consumed with lust you can’t think of anything else but touching it.

“Go on get on my thigh.” Arthur tells you with a comforting smile. He notices your hesitant expression.

“What is it?”

“I want to touch you.” You blurt out. He smirks.

“Really?” He asks. You nod.

“Please.” Arthur gets off better through pleasuring others, but you’re so beautifully eager that he doesn’t think twice.

“Here.” He says, taking off the glove on your right hand and guiding it into his (boxers? Whatever tf they had back then) It was warm and felt very strange in a way you weren’t sure you liked, however feeling it grow in the palm of your hand was satisfying. You pulled the pants further down, taking out his cock. It was pretty well groomed and a lot cleaner than you had anticipated. It was also big. You knew it would be, he was practically a cowboy and you definitely knew what they said about cowboys.

He grabbed your hand and gripped it sternly over his shaft.

“Move your thumb over the tip…” He moves your fingers, rubbing himself with them.

“Like this. Then with your hand, apply press- mm” He lets out a low groan.

“And move up and down like this.” You nod, smiling a little awkwardly as you go up and down as fast as you can. Arthur rolls his head back.

“Damn….thats the way sweetheart fuck~” Arthur babbled. You smile, liking the effect you had on him.You continued at that pace and pressure for a while until his moans had progressed into hot fucking whimpers. He smirks at you knowingly.

“This turn you on gorgeous?” You don’t reply with words, just a simple nod. He hums in response.

“Show me how much.”

You remove your hand from his cock and reach down to your cunt, getting a thick layer of your slick from your fingers and showing him, clearly still embarrassed.He acknowledges this with a fond look of satisfaction.

“Coat my cock with it.” He instructs, and your eyes widen at his bluntness.

“I-“ You stop yourself, deciding your words were of little value in a situation like this. You do as he says, applying a thing layer of your spent and moving even faster. He moans at the sensation and warm precum floods your hands. You look up at him nervously.

“Wait…did you?”

“No sweetheart, you gotta do more than that.”

“Then why? What is…” you say, your fingers fidgeting with the liquid on your hands. He chuckles, fuck his laugh is attractive, too.

“It happens a little before. When it feels good, it means I’m close just keep going sweetheart. Keep your eyes on me.” You nod and go faster, feeling his precum dripping over your fingers.

He lets out a low groan combined with a slightly high pitched, breathy whimper. If your ears could cum, they would have just then. You watch with admiration as his head leans back, his glowing face looking all that much sexier when he wasn’t consumed in a mission.

“Mmmph…so good sweeth- oh fuck…” He lets out. You keep your eyes on him even as his cock pulses inside your hand, warmth completely coated your significantly smaller hand. You finally look back down at it.

“What does…what would it taste like?” You question, not even sure why the question crossed your mind. He laughs.

“Now how would I know that my lady?” He asks, still breathing heavily. You roll your eyes at yourself.

“Right.” You exclaim, feeling stupid. He puts a hand on your cheek.

“You did real good…” He says, but you’re still preoccupied in your own thoughts.

You should have asked first, probably, and in truth you’re not sure why you didn’t, but you put him in your mouth, tasting the salty, metallic flavour of him and evaluating the texture. He lets out a shocked gasp.

“H…holy….don’t- wh…” Is all he can manage, his dick practically swelling in your mouth. You stop and look up at him, swallowing what was in your mouth.

“Sorry…did you not like it?”

“Well I….of course I did- do- of course I do but…you need to give it time, it’s sensitive after releasing all that.” He explains. Your smile widens.

“It sounded like you like it.”

“I do b-“ You put him in your mouth again and this time he grabs your head and instinctively pushes it down, furthering himself in your mouth.

You’re stunned by his actions and also weirdly turned on, it’s not too much for you to handle and the new roughness he could give and is obviously keeping from you was starting to show. You continue and feel him rock hard again, not even able to speak and replacing his words with small whimpers and sighs.

“Hey um…stop st-“ He lets out. You do as he says, scared you did something wrong.

“Are you a virgin?” He speaks softly once he finally got his words back. You look a little upset now.

“That bad, huh?”

“What? It was incredible I’ve never felt that good in my life it’s just. If you’re willing we could…uh”

“Oh.” You say, your cheeks lighting up.

“I know you said you haven’t done anything like this.” He adds. “You probably want to save yourself for your husband.”

‘What he doesn’t know won’t hurt him. George Pettie said that.”

“Who?”

“He’s an author, he- nevermind.” You say, taking off his coat and unbuttoning his shirt.

“I’m not a good person, you don’t want your first to be with some random outlaw you met at a party do you?” He questions as the last of his clothes are removes and you see his glistening body, gentle lines of hair across the center. You shrug.

“It’s better this way, better to have experience, you know?” He rolls his eyes playfully.

“So you went for me. Wow, a man thinks he’s special…” He teases, grabbing you by your hips and pulling you onto his lap. You gasp at the feeling of your bare bodies touching like this, his warm thighs under your wet pussy, it was something you never knew you were craving.

“I’m gonna get you used to the rocking motion…uh.” He starts, taking you by the hips again and moves you slowly up his thigh. He moves you back down and you gasp at the sensation, your clit already fucking throbbing for him. Arthur smirks happily and moves you back again, this time with your help as you thrust your hips onto him. You let out a loud moan. He smiles widely.

“Mmm…good girl.” He murmurs as you start pleasuring yourself on his thigh. You look away nervously but keep moving up and down.

“I feel bad.” You say, simply. “You can’t feel anything when I do this.” He kisses you deeply and fuck do you love the feeling of his tongue dancing with yours.

“I love it like this.” Arthur admits, and you can tell by the look on his face that he’s genuine. Your pleasure is everything to him, and he’ll be damned if he doesn’t give it to you.

You keep going for a while, letting a chorus of gasps and moans escape your lips in a song of desperation. You’re close again, your eyes shutting involuntarily as you grip onto his hair.

“So good…” You exclaim, thrusting harshly. He kisses you even longer this time.

“Real good, girl.” He coos.

You look down and Arthur looks almost painfully hard at all this commotion. You look at him nervously. He smiles comfortingly at you.

“Lie down.” He tells you, and you do as he says, carefully getting off his lap and lying down on the bed beside him.

“Good, now take deep breaths, it might hurt a little at first okay?” Your wetness pools between your thighs. He’s so fucking caring, at least in this situation, and fuck…he talks you through it. You know he’s experienced and yet he’s treating every sensation like its a first for both of you

“Sweetheart?” He asks, softly, bringing you out of your head long enough to enjoy the experience. You blush.

“Yea- Yes.” You say, and he towers over you, sucking at the soft skin of your neck and urging a breathy moan in response.

“Don’t…mess around Arthur- just do it already.” He raises an eyebrow at this.

“Eager, aren’t you miss? Do you want me bad?” You roll your eyes, only somewhat playfully.

“Just do it.” You repeat. He didn’t really need to be told twice, because he was already lining himself up with your small, dripping cunt. You gasp and he lets out a deep groan when he first enters you. It stings slightly, after all he’s fucking large, but the pain of it all mixed with the pleasure you know he can give you only enhances the situation.

Arthur watches you from above, noting every noise you make as a result of the things he does to you. He particularly notices the way he forces himself inside you, the way you take every inch of him so fucking well, especially when there’s so much of him to take. It feels fucking phenomenal for him too, the heat of it, the stickiness from all his prior manipulation, it takes everything inside him to not thrust in and out as hard and fast as he wants to, using you as a fucking toy. You would be so perfect for that if that’s what you were into, or if you were any of Arthurs usual sexual partners- troubled women usually, who just want their brains to be fucked out by an outlaw. You were different though. Eager, maybe, but a dignified and intelligent woman who was sleeping with him because she knew it was what she wanted and not because she was troubled or unsatisfied by other men.

You could see that lustful look in his eye as he cautiously went in and out and you reach up to put a hand on his face.

“I can handle it Morgan. Go as fast as you want.” It’s like you could hear his thoughts. Arthur always had been transparent. He shakes his head.

“I’m not going to use…” He lets out a groan. “You.” He adds. You give him the most seductive look you know how to make.

“Use me.” You say, and his eyes darken at your comment. You grabs your legs and pins them above your head, forcing his entire cock inside you with some force, making you moan so loud you practically scream.

“Am I hurting y-“

“Enough with that, Morgan. “If you’re as bad of a man as you claim, you’ll treat me however you want to treat me.”

“I want to treat you well…” Arthur tries, unconvincingly. You give him a comforting look.

“Go on, Morgan.” You affirm again, and he nods, changing his attitude.

“You gonna take it like a fucking good girl?” He questions and holy fuck, this is turning you on significantly more, which is also more or less a concern, you can cross that bridge if and when it comes to it though.

“Fuck…yes Morg-“

“Don’t fucking call me that. What’s my name?”

“A…Arthur.” You cry out as he moves so fucking fast, so fucking effortlessly. He smiles.

“Good girl.” He continues on until your words aren’t even audible to him.

“Look at you.” Arthur rambles, putting a hand on your throat, still holding your other leg.

“So fucking full with my cock, I didn’t think you’d like it like this, guess I was- oh fuck~ mistaken.” You don’t say anything, you couldn’t even if you wanted to, but you felt yourself nearing yet another orgasm.

“I’m gonna have to pull….ah~ out soon.” Arthur warns, not slowing down or easing back even slightly. Your eyes are still shut tight, so fucking close yourself. And then you experience it, your stomach swirling in ethereal waves as your own slick pours down his cock and your pussy. He pulls out, spinning his body away and letting the warm white liquid spill onto himself.

When you finally open your eyes, you notice him wiping himself down with a nearby washcloth. He wipes your thighs down too and pulls you in so you’re lying down besides each other.

“Well I think we got what we needed from this party.” He says, letting out a soft laugh. You nod.

“Thank god the guards didn’t hear all that.”

“Ah yes, what would daddy’s guards think?” You hit him playfully.

“Let’s go.” You say and he nods, getting up and grabbing his clothes from the ground.

“So now you’re authoritative.” He mutters to himself.

#arthur morgan #arthur morgan x reader #arthur morgan rdr2 #red dead redemption 2 #smut #arthur morgan x fem reader

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the-kr8tor · 1 year ago

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Hobie with facial hair?!?? would he keep it? What style of facial hair? Imagine seeing him with facial hair! Like who’s this completely different guy?

- 💗

I'm literally trying to imagine him in different facial hair and I'm giggling bc who is that? That's Hobart not Hobie! Like imagine him with a full beard and I'm going 'who tf' also laughing at him having like a 70's stache that fits well with his dimension's timeline but no, just no

The extent i can see him having facial hair is some scruff (someone who can edit pls we all need to see Hobart with different facial hair)

#ask answered #💗 anon #🫶🫶🫶

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proustian-dream · 1 year ago

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Ensoñaciones líricas sobre Joseph Cornell:

-Cajas poéticas: Homage to the Romantic Ballet, 1942; Nouveaux Contes de Fées (New Fairy Tales), 1948; Untitled (Butterfly Habitat), c. 1940. On a moonlight night in the winter of 1835 the carriage of Marie Taglioni was halted by a Russian highwayman, and that ethereal creature commanded to dance for this audience of one upon a panther’s skin spread over the snow beneath the stars. From this actuality arose the legend that, to keep alive the memory of this adventure so precious to her, Taglioni formed the habit of placing a piece of ice in her jewel casket or dressing table drawer, where melting among the sparkling stones, there was evoked a hint of the starlit heavens over the ice-covered landscape.

-Apariciones de tendajón de María Negroni (en el medio Marcel Duchamp) en Elegía Joseph Cornell. Un rosebud una frágil familia de signos un tiempo perdido en el tiempo un juguete de trapo un memento un gran pájaro sabio.

-Una definición de las cajas del propio Cornell: "Perhaps a definition of the box could be as a kind of ‘forgotten game,’ a philosophical toy of the Victorian era, with poetic or magical ‘moving parts,’ … that golden age of the toy alone should justify the ‘box’s’ existence” (Cornell Papers, The Art Institute of Chicago)

-Stills de la película-collage Rose Hobart (1936). Eclipse, azul de eternidad, corte de mujer. Dice P. Adams Sitney sobre el cine de Cornell: "Two principles of cinema emerge: that facial expression and gesture are its essential language and, more crucially, that the coming of sound has destroyed the immanent spiritual music of films. In this difficult time for cinema — the era of the sound film — the “poetic and evocative language” can appear only in “evanescent fragments” and their “realms of wonder” are necessarily mediated by the memory of silent films." (Visionary Film: The American Avant-Garde, 1943–2000)

#joseph cornell #texto #juegos olvidados en un pequeño mundo ilustrado #memorabilia del afecto y de mis combinaciones infantiles #maría negroni #my scans #apuntes de lectura

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heartaestheticshobart · 11 hours ago

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minny02 · 2 years ago

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High school students should get more time to explore art and theatre

High school pupils benefit tremendously from arts and theatrical performance courses of study. It enables children the chance to study and express themselves creatively, as well as to develop a variety of skills that are necessary for success in life.

One of the benefits of arts and theatre education is that it encourages pupils to be creative. Many occupations require creative thinking, especially in contemporary times when inventiveness and solving issues have become essential for success.

Learners may use the arts and theatre to explore their imaginations and think outside the box, which can help them achieve novel thoughts and approaches to problems solving. For more visit Source Essay at Online Assignment Help Hobart

Additionally, the arts and theatre can assist the students in their communication abilities. Students learn how to successfully convey their opinions, concepts, and emotions via various kinds of artistic expression such as gestures, tone of speaking, and facial expressions are indications of non-verbal communication capacities. One of the most significant advantages of arts and theatre education is that it encourages pupils to be creative. Many occupations require creative thinking, especially in modern when creativity and problem-solving are critical for accomplishment.

Furthermore, artistic and theatre education might assist pupils in improving their collaborative skills. Collaboration frequently becomes necessary in the production of art and theatre, and students learn how to work together in order to accomplish a common goal. This covers abilities like leadership, negotiate, and handling disputes, which are all useful in business and in life.

A different benefit of arts and theatre education is that it allows high school students to express themselves imaginatively. Adolescence can be a difficult period, and several adolescents struggle to find suitable avenues for their emotions. Students may explore their feelings, ideas, and emotions in a secure and enabling atmosphere via the arts and theatre, which can be restorative and maximize mental health.

Likewise, arts and theatre education could benefit pupils to acquire cultural knowledge and respect. Students may learn about the world around them and get a greater knowledge and respect of diverse different points of view and customs by being exposed to various types of art and theatre from many countries.

Despite its obvious benefits arts and theatre instruction are often overlooked and underfunded in secondary schools. According to a National Endowment for the Arts assessment, arts education programs in secondary schools have been losing since the 1970s, and many schools lack the means to create effective arts and theatre programs.

Art instruction in high schools has been a source of contention among academics. Some claim that it is essential for kids' creativity, critical thinking, and problem-solving abilities. They think that art education fosters a greater knowledge and admiration for culture, history, and aesthetics in students alike.

Others say that art education is an extravagance that should be curtailed when money is tight. They think that resources should be allocated to crucial academic areas like mathematics, science, and English.

Numerous scholars, however, maintain that art education is not a luxury but a must for a well-rounded education. They contend that art education builds emotional intelligence, empathy, and social awareness and that it is critical in the development of student's sense of identity, community, and social responsibility.

In conclusion, specialists have various views on high school art education. While some consider it a vital aspect of education, others consider it an expenditure that should be reduced during times characterized by financial difficulties.

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revivequeen · 3 years ago

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#facial in hobart

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cacodaemonia · 4 years ago

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Hi there, I just wanted to drop you a line and say your new drawing of Waxer is absolutely gorgeous, and the progress you've made in the last year is frankly, astonishing. I am Māori born and raised in Aotearoa, and I will admit the lauding of your work made me vaguely uncomfortable as the skin tones felt like a reaction to the 'don't draw clones white' discourse floating around (up until now they have been too dark/too red), and I'm so glad to hear this was a monitor issue (1/2)

but yeah, I'm super excited to see what you come up with next. I thought the facial features in your Cody and Obi-Wan pic were also excellent, and Tiny Waxer looks like my nephew which gave me big warm fuzzies. I would really like to see more people look at the diversity of the Māori people and recognise that (while yes, Temuera Morrison is quite dark, he has a tan as well) we live in a country very far south so the idea of our skin vs the reality is perhaps a bit skewed (also colonialism) (2/2)

Thank you so much! I’m maybe finally getting close to the level I was at when I quit doing art in 2012.

I really appreciate your input, and frankly, I don’t think I deserve all the nice things people say about my stuff, so it’s nice to get a more objective opinion, haha. I’ll never get better if I never get any constructive criticism. :)

I’ve never been to Aotearoa, but for some reason, I had it in my head that it’s around the latitude of Brisbane, when it’s actually closer to Tasmania! I visited Tasmania once, and the climate was really similar to where I grew up in Upstate New York (huh, Hobart is almost exactly the same latitude as my home town, just in the Southern Hemisphere), though I’m sure Aotearoa‘s climate varies a lot from north to south. Thank you for pointing that out!

Tiny Waxer looks like my nephew which gave me big warm fuzzies.-- T^T <3

Thank you again for the message!

#Anonymous #asks

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msmaldesigns · 3 years ago

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I have been trying out Kiehl’s Ultra Facial Cream again. I have that it's much creamier and easier to apply, a little bit goes a long way. #kiehlsbeautygifts #kiehlslovesau #kiehlscompetition @kiehls.au (at Hobart, Tasmania) https://www.instagram.com/p/CSQ9ErohHDk/?utm_medium=tumblr

#kiehlsbeautygifts #kiehlslovesau #kiehlscompetition

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classic-laugjhing-hollywood · 4 years ago

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Marie Dressler (born Leila Marie Koerber, November 9, 1868 – July 28, 1934) was a Canadian stage and screen actress, comedian, and early silent film and Depression-era film star. In 1914, she was in the first full-length film comedy. She won the Academy Award for Best Actress in 1931.

Leaving home at the age of 14, Dressler built a career on stage in traveling theatre troupes, where she learned to appreciate her talent in making people laugh. In 1892, she started a career on Broadway that lasted into the 1920s, performing comedic roles that allowed her to improvise to get laughs. From one of her successful Broadway roles, she played the titular role in the first full-length screen comedy, Tillie's Punctured Romance (1914), opposite Charlie Chaplin and Mabel Normand. She made several shorts, but mostly worked in New York City on stage. During World War I, along with other celebrities, she helped sell Liberty bonds. In 1919, she helped organize the first union for stage chorus players.

Her career declined in the 1920s, and Dressler was reduced to living on her savings while sharing an apartment with a friend. In 1927, she returned to films at the age of 59 and experienced a remarkable string of successes. For her performance in the comedy film Min and Bill (1930), Dressler won the Academy Award for Best Actress. She died of cancer in 1934.

Marie Dressler's original name was Leila Marie Koerber. She was born on November 9, 1868, Cobourg, Ontario. She was one of the two daughters of Anna (née Henderson), a musician, and Alexander Rudolph Koerber (b. April 13, 1826, Lindow, Neu-Ruppin, Germany – d. November 1914, Wimbledon, Surrey, England), a German-born former officer in the Crimean War. Leila's elder sister, Bonita Louise Koerber (b. January 1864, Ontario, Canada – d. September 18, 1939, Richmond, Surrey, England), later married playwright Richard Ganthony.

Her father was a music teacher in Cobourg and the organist at St. Peter's Anglican Church, where as a child Marie would sing and assist in operating the organ. According to Dressler, the family regularly moved from community to community during her childhood. It has been suggested by Cobourg historian Andrew Hewson that Dressler attended a private school, but this is doubtful if Dressler's recollections of the family's genteel poverty are accurate.

The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s in Bay City and Saginaw (both in Michigan) as well as Findlay, Ohio. Her first known acting appearance, when she was five, was as Cupid in a church theatrical performance in Lindsay, Ontario. Residents of the towns where the Koerbers lived recalled Dressler acting in many amateur productions, and Leila often irritated her parents with those performances.

Dressler left home at the age of 14 to begin her acting career with the Nevada Stock Company, telling the company she was actually 18. The pay was either $6 or $8 per week, and Dressler sent half to her mother. At this time, Dressler adopted the name of an aunt as her stage name. According to Dressler, her father objected to her using the name of Koerber. The identity of the aunt was never confirmed, although Dressler denied that she adopted the name from a store awning. Dressler's sister Bonita, five years older, left home at about the same time. Bonita also worked in the opera company. The Nevada Stock Company was a travelling company that played mostly in the American Midwest. Dressler described the troupe as a "wonderful school in many ways. Often a bill was changed on an hour's notice or less. Every member of the cast had to be a quick study". Dressler made her professional debut as a chorus girl named Cigarette in the play Under Two Flags, a dramatization of life in the Foreign Legion.

She remained with the troupe for three years, while her sister left to marry playwright Richard Ganthony. The company eventually ended up in a small Michigan town without money or a booking. Dressler joined the Robert Grau Opera Company, which toured the Midwest, and she received an improvement in pay to $8 per week, although she claimed she never received any wages.

Dressler ended up in Philadelphia, where she joined the Starr Opera Company as a member of the chorus. A highlight with the Starr company was portraying Katisha in The Mikado when the regular actress was unable to go on, due to a sprained ankle, according to Dressler. She was also known to have played the role of Princess Flametta in an 1887 production in Ann Arbor, Michigan. She left the Starr company to return home to her parents in Saginaw. According to her, when the Bennett and Moulton Opera Company came to town, she was chosen from the church choir by the company's manager and asked to join the company. Dressler remained with the company for three years, again on the road, playing roles of light opera.

She later particularly recalled specially the role of Barbara in The Black Hussars, which she especially liked, in which she would hit a baseball into the stands. Dressler remained with the company until 1891, gradually increasing in popularity. She moved to Chicago and was cast in productions of Little Robinson Crusoe and The Tar and the Tartar. After the touring production of The Tar and the Tartar came to a close, she moved to New York City.

In 1892, Dressler made her debut on Broadway at the Fifth Avenue Theatre in Waldemar, the Robber of the Rhine, which only lasted five weeks. She had hoped to become an operatic diva or tragedienne, but the writer of Waldemar, Maurice Barrymore, convinced her to accept that her best success was in comedy roles. Years later, she appeared in motion pictures with his sons, Lionel and John, and became good friends with his daughter, actress Ethel Barrymore. In 1893, she was cast as the Duchess in Princess Nicotine, where she met and befriended Lillian Russell.

Dressler now made $50 per week, with which she supported her parents. She moved on into roles in 1492 Up To Date, Girofle-Girofla, and A Stag Party, or A Hero in Spite of Himself After A Stag Party flopped, she joined the touring Camille D'Arville Company on a tour of the Midwest in Madeleine, or The Magic Kiss, as Mary Doodle, a role giving her a chance to clown.

In 1896, Dressler landed her first starring role as Flo in George Lederer's production of The Lady Slavey at the Casino Theatre on Broadway, co-starring British dancer Dan Daly. It was a great success, playing for two years at the Casino. Dressler became known for her hilarious facial expressions, seriocomic reactions, and double takes. With her large, strong body, she could improvise routines in which she would carry Daly, to the delight of the audience.

Dressler's success enabled her to purchase a home for her parents on Long Island. The Lady Slavey success turned sour when she quit the production while it toured in Colorado. The Erlanger syndicate blocked her from appearing on Broadway, and she chose to work with the Rich and Harris touring company. Dressler returned to Broadway in Hotel Topsy Turvy and The Man in the Moon.

She formed her own theatre troupe in 1900, which performed George V. Hobart's Miss Prinnt in cities of the northeastern U.S. The production was a failure, and Dressler was forced to declare bankruptcy.

In 1904, she signed a three-year, $50,000 contract with the Weber and Fields Music Hall management, performing lead roles in Higgeldy Piggeldy and Twiddle Twaddle. After her contract expired she performed vaudeville in New York, Boston, and other cities. Dressler was known for her full-figured body, and buxom contemporaries included her friends Lillian Russell, Fay Templeton, May Irwin and Trixie Friganza. Dressler herself was 5 feet 7 inches (1.70 m) tall and weighed 200 pounds (91 kg).

In 1907, she met James Henry "Jim" Dalton. The two moved to London, where Dressler performed at the Palace Theatre of Varieties for $1500 per week. After that, she planned to mount a show herself in the West End. In 1909, with members of the Weber organization, she staged a modified production of Higgeldy Piggeldy at the Aldwych Theatre, renaming the production Philopoena after her own role. It was a failure, closing after one week. She lost $40,000 on the production, a debt she eventually repaid in 1930. She and Dalton returned to New York. Dressler declared bankruptcy for a second time.

She returned to the Broadway stage in a show called The Boy and the Girl, but it lasted only a few weeks. She moved on to perform vaudeville at Young's Pier in Atlantic City for the summer. In addition to her stage work, Dressler recorded for Edison Records in 1909 and 1910. In the fall of 1909, she entered rehearsals for a new play, Tillie's Nightmare. The play toured in Albany, Chicago, Kansas City, and Philadelphia, and was a flop. Dressler helped to revise the show, without the authors' permission, and in order to keep the changes she had to threaten to quit before the play opened on Broadway. Her revisions helped make it a big success there. Biographer Betty Lee considers the play the high point of her stage career.

Dressler continued to work in the theater during the 1910s, and toured the United States during World War I, selling Liberty bonds and entertaining the American Expeditionary Forces. American infantrymen in France named both a street and a cow after Dressler. The cow was killed, leading to "Marie Dressler: Killed in Line of Duty" headlines, about which Dressler (paraphrasing Mark Twain) quipped, "I had a hard time convincing people that the report of my death had been greatly exaggerated."

After the war, Dressler returned to vaudeville in New York, and toured in Cleveland and Buffalo. She owned the rights to the play Tillie's Nightmare, the play upon which her 1914 movie Tillie's Punctured Romance was based. Her husband Jim Dalton and she made plans to self-finance a revival of the play. The play fizzled in the summer of 1920, and the production was disbanded. In 1919, during the Actors' Equity strike in New York City, the Chorus Equity Association was formed and voted Dressler its first president.

Dressler accepted a role in Cinderella on Broadway in October 1920, but the play failed after only a few weeks. She signed on for a role in The Passing Show of 1921, but left the cast after only a few weeks. She returned to the vaudeville stage with the Schubert Organization, traveling through the Midwest. Dalton traveled with her, although he was very ill from kidney failure. He stayed in Chicago while she traveled on to St. Louis and Milwaukee. He died while Marie was in St. Louis, and Marie then left the tour. His body was claimed by his ex-wife, and he was buried in the Dalton plot.

After failing to sell a film script, Dressler took an extended trip to Europe in the fall of 1922. On her return she found it difficult to find work, considering America to be "youth-mad" and "flapper-crazy". She busied herself with visits to veteran hospitals. To save money she moved into the Ritz Hotel, arranging for a small room at a discount. In 1923, Dressler received a small part in a revue at the Winter Garden Theatre, titled The Dancing Girl, but was not offered any work after the show closed. In 1925, she was able to perform as part of the cast of a vaudeville show which went on a five-week tour, but still could not find any work back in New York City. The following year, she made a final appearance on Broadway as part of an Old Timers' bill at the Palace Theatre.

Early in 1930, Dressler joined Edward Everett Horton's theater troupe in Los Angeles to play a princess in Ferenc Molnár's The Swan, but after one week, she quit the troupe. Later that year she played the princess-mother of Lillian Gish's character in the 1930 film adaptation of Molnar's play, titled One Romantic Night.

Dressler had appeared in two shorts as herself, but her first role in a feature film came in 1914 at the age of 44. In 1902, she had met fellow Canadian Mack Sennett and helped him get a job in the theater. After Sennett became the owner of his namesake motion picture studio, he convinced Dressler to star in his 1914 silent film Tillie's Punctured Romance. The film was to be the first full-length, six-reel motion picture comedy. According to Sennett, a prospective budget of $200,000 meant that he needed "a star whose name and face meant something to every possible theatre-goer in the United States and the British Empire."

The movie was based on Dressler's hit Tillie's Nightmare. She claimed to have cast Charlie Chaplin in the movie as her leading man, and was "proud to have had a part in giving him his first big chance." Instead of his recently invented Tramp character, Chaplin played a villainous rogue. Silent film comedian Mabel Normand also starred in the movie. Tillie's Punctured Romance was a hit with audiences, and Dressler appeared in two Tillie sequels and other comedies until 1918, when she returned to vaudeville.

In 1922, after her husband's death, Dressler and writers Helena Dayton and Louise Barrett tried to sell a script to the Hollywood studios, but were turned down. The one studio to hold a meeting with the group rejected the script, saying all the audiences wanted is "young love." The proposed co-star of Lionel Barrymore or George Arliss were rejected as "old fossils". In 1925, Dressler filmed a pair of two-reel short movies in Europe for producer Harry Reichenbach. The movies, titled the Travelaffs, were not released and were considered a failure by both Dressler and Reichenbach. Dressler announced her retirement from show business.

In early 1927, Dressler received a lifeline from director Allan Dwan. Although versions differ as to how Dressler and Dwan met, including that Dressler was contemplating suicide, Dwan offered her a part in a film he was planning to make in Florida. The film, The Joy Girl, an early color production, only provided a small part as her scenes were finished in two days, but Dressler returned to New York upbeat after her experience with the production.

Later that year, Frances Marion, a screenwriter for the Metro-Goldwyn-Mayer (MGM) studio, came to Dressler's rescue. Marion had seen Dressler in the 1925 vaudeville tour and witnessed Dressler at her professional low-point. Dressler had shown great kindness to Marion during the filming of Tillie Wakes Up in 1917, and in return, Marion used her influence with MGM's production chief Irving Thalberg to return Dressler to the screen. Her first MGM feature was The Callahans and the Murphys (1927), a rowdy silent comedy co-starring Dressler (as Ma Callahan) with another former Mack Sennett comedian, Polly Moran, written by Marion.

The film was initially a success, but the portrayal of Irish characters caused a protest in the Irish World newspaper, protests by the American Irish Vigilance Committee, and pickets outside the film's New York theatre. The film was first cut by MGM in an attempt to appease the Irish community, then eventually pulled from release after Cardinal Dougherty of the Archdiocese of Philadelphia called MGM president Nicholas Schenck. It was not shown again, and the negative and prints may have been destroyed. While the film brought Dressler to Hollywood, it did not re-establish her career. Her next appearance was a minor part in the First National film Breakfast at Sunrise. She appeared again with Moran in Bringing Up Father, another film written by Marion. Dressler returned to MGM in 1928's The Patsy as the mother of the characters played by stars Marion Davies and Jane Winton.

Hollywood was converting from silent films, but "talkies" presented no problems for Dressler, whose rumbling voice could handle both sympathetic scenes and snappy comebacks (the wisecracking stage actress in Chasing Rainbows and the dubious matron in Rudy Vallée's Vagabond Lover). Frances Marion persuaded Thalberg to give Dressler the role of Marthy in the 1930 film Anna Christie. Garbo and the critics were impressed by Dressler's acting ability, and so was MGM, which quickly signed her to a $500-per-week contract. Dressler went on to act in comedic films which were popular with movie-goers and a lucrative investment for MGM. She became Hollywood's number-one box-office attraction, and stayed on top until her death in 1934.

She also took on serious roles. For Min and Bill, with Wallace Beery, she won the 1930–31 Academy Award for Best Actress (the eligibility years were staggered at that time). She was nominated again for Best Actress for her 1932 starring role in Emma, but lost to Helen Hayes. Dressler followed these successes with more hits in 1933, including the comedy Dinner at Eight, in which she played an aging but vivacious former stage actress. Dressler had a memorable bit with Jean Harlow in the film:

Harlow: I was reading a book the other day.

Dressler: Reading a book?

Harlow: Yes, it's all about civilization or something. A nutty kind of a book. Do you know that the guy said that machinery is going to take the place of every profession?

Dressler: Oh my dear, that's something you need never worry about.

Following the release of Tugboat Annie (1933), Dressler appeared on the cover of Time, in its issue dated August 7, 1933. MGM held a huge birthday party for Dressler in 1933, broadcast live via radio. Her newly regenerated career came to an abrupt end when she was diagnosed with terminal cancer in 1934. MGM head Louis B. Mayer learned of Dressler's illness from her doctor and reportedly asked that she not be told. To keep her home, he ordered her not to travel on her vacation because he wanted to put her in a new film. Dressler was furious but complied. She appeared in more than 40 films, and achieved her greatest successes in talking pictures made during the last years of her life. The first of her two autobiographies, The Life Story of an Ugly Duckling, was published in 1924; a second book, My Own Story, "as told to Mildred Harrington," appeared a few months after her death.

Dressler's first marriage was to an American, George Francis Hoeppert (1862 – September 7, 1929), a theatrical manager. His surname is sometimes given as Hopper. The couple married on May 6, 1894, in Grace Church Rectory, Greenville, New Jersey, as biographer Matthew Kennedy wrote, under her birth name, Leila Marie Koeber,. Some sources indicate Dressler had a daughter who died as a small child, but this has not been confirmed.

Her marriage to Hoeppert gave Dressler U.S. citizenship, which was useful later in life, when immigration rules meant permits were needed to work in the United States, and Dressler had to appear before an immigration hearing. Ever since her start in the theatre, Dressler had sent a portion of her salary to her parents. Her success on Broadway meant she could afford to buy a home and later a farm on Long Island, which she shared with her parents. Dressler made several attempts to set up theatre companies or theatre productions of her own using her Broadway proceeds, but these failed and she had to declare bankruptcy several times.

In 1907, Dressler met a Maine businessman, James Henry "Jim" Dalton, who became her companion until his death [Death Record 3104-27934] on November 29, 1921, at the Congress Hotel in Chicago from diabetes. According to Dalton, the two were married in Europe in 1908. However, according to Dressler's U.S. passport application, the couple married in May 1904 in Italy.

Dressler reportedly later learned that the "minister" who had married them in Monte Carlo was actually a local man paid by Dalton to stage a fake wedding. Dalton's first wife, Lizzie Augusta Britt Dalton, claimed he had not consented to a divorce or been served divorce papers, although Dalton claimed to have divorced her in 1905. By 1921, Dalton had become an invalid due to diabetes mellitus, and watched her from the wings in his wheelchair. After his death that year, Dressler was planning for Dalton to be buried as her husband, but Lizzie Dalton had Dalton's body returned to be buried in the Dalton family plot.

After Dalton's death, which coincided with a decline in her stage career, Dressler moved into a servant's room in the Ritz Hotel to save money. Eventually, she moved in with friend Nella Webb to save on expenses. After finding work in film again in 1927, she rented a home in Hollywood on Hillside Avenue. Although Dressler was working from 1927 on, she was still reportedly living hand to mouth. In November 1928, wealthy friends Mr. and Mrs. Arthur Neurmberg gave her $10,000, explaining they planned to give her a legacy someday, but they thought she needed the money immediately. In 1929, she moved to Los Angeles to 6718 Milner Road in Whitley Heights, then to 623 North Bedford Drive in Beverly Hills, both rentals. She moved to her final home at 801 North Alpine in Beverly Hills in 1932, a home which she bought from the estate of King C. Gillette. During her seven years in Hollywood, Dressler lived with her maid Mamie Cox and later Mamie's husband Jerry.

Although atypical in size for a Hollywood star, Dressler was reported in 1931 to use the services of a "body sculptor to the stars", Sylvia of Hollywood, to keep herself at a steady weight.

Biographers Betty Lee and Matthew Kennedy document Dressler's long-standing friendship with actress Claire Du Brey, whom she met in 1928. Dressler and Du Brey's falling out in 1931 was followed by a later lawsuit by Du Brey, who had been trained as a nurse, claiming back wages as the elder woman's nurse.

On Saturday, July 28, 1934, Dressler died of cancer, aged 65, in Santa Barbara, California. After a private funeral held at The Wee Kirk o' the Heather chapel, she was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park, Glendale, California.

She left an estate worth $310,000, the bulk left to her sister Bonita.

Dressler bestowed her 1933 Duesenberg Model J automobile and $35,000 to her maid of 20 years, Mamie Steele Cox, and $15,000 to Cox's husband, Jerry R. Cox, who had served as Dressler's butler for four years. Dressler intended that the funds should be used to provide a place of comfort for black travelers, and the Coxes used the funds to open the Coconut Grove night club and adjacent tourist cabins in Savannah, Georgia, in 1936, named after the night club in Los Angeles.

Dressler's birth home in Cobourg, Ontario, is known as Marie Dressler House and is open to the public. The home was converted to a restaurant in 1937 and operated as a restaurant until 1989, when it was damaged by fire. It was restored, but did not open again as a restaurant. It was the office of the Cobourg Chamber of Commerce until its conversion to its current use as a museum about Dressler and as a visitor information office for Cobourg.[66] Each year, the Marie Dressler Foundation Vintage Film Festival is held, with screenings in Cobourg and in Port Hope, Ontario. A play about the life of Marie Dressler called "Queen Marie" was written by Shirley Barrie and produced at 4th Line Theatre in 2012 and Alumnae Theatre in 2018.

For her contribution to the motion picture industry, Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street, added in 1960. After Min and Bill, Dressler and Beery added their footprints to the cement forecourt of Grauman's Chinese Theatre in Hollywood, with the inscription "America's New Sweethearts, Min and Bill."

Canada Post, as part of its "Canada in Hollywood" series, issued a postage stamp on June 30, 2008, to honour Marie Dressler.

Dressler is beloved in Seattle. She played in two films based on historical Seattle characters. Tugboat Annie (1933) was loosely based on Thea Foss, of Seattle. Likewise Hattie Burns, in Politics (1931), was based on Bertha Knight Landes, the first woman to become mayor of Seattle.

Dressler's 152nd birthday was commemorated in a Google Doodle on November 9, 2020.

#marie dressler #classic hollywood #classic movie stars #golden age of hollywood #early film #silent era #silent hollywood #silent movie stars #1910s movies #1920s hollywood #1930s hollywood #comedy legend #hollywood legends

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megaservices · 4 years ago

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Review of Body Corporate Australia

Body corporate Brisbane in Australia is the leading spas in Australia and has branches in most major cities. The Spinella Body Shop is one of the biggest selling spas in Australia and offers a wide variety of services including treatment, facials, detox, massage, body wraps and much more. It also boasts a world class quality and service standard. To provide the body and face of an Aussie pop star, the treatment is led by internationally known beauty expert, Alice Cooper.

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Many of the spa treatments at Body corporate Australia are very natural and have no chemicals or medications used. This is part of their commitment to you and your overall well being. They want you to be as healthy as possible so they are dedicated to using high quality, all natural products. Their goal is to provide you with a soothing, relaxing experience and a healthy outcome as well. With their outstanding treatments, you will never want to leave.

Body corporate Australia has treatments that are guaranteed to satisfy you. They have treatments for everything from basic injuries to serious conditions and injuries requiring reconstructive surgery. No matter what you need, they have a solution for you. If you are looking for a great way to take care of an injury, visit one of the Body corporate locations.

Once you have undergone treatment at Body corporate, you will wonder how you lived with the pain before. It will seem like a minor problem has been resolved. You will continue to enjoy your treatment and make sure you take advantage of the great discounts that are available when you book a stay at one of their hotels.

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nerdymartian-is-alive · 7 years ago

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😤

#olina hobart #facial practice #my art #original art #my ocs #ocs

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heartaestheticshobart · 9 days ago

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Are forehead lines and crow’s feet making you look tired or older than you feel? At Heart Aesthetics Hobart, we specialise in using wrinkle relaxers like Botox to soften these common concerns, helping you achieve a refreshed, natural appearance.

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thebeautybrowparlour · 4 years ago

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FACIAL TREATMENT: GIVE YOU THE BEST NATURAL LOOK REJUVENATING TREATMENT

The Beauty and Brow Parlour are committed to providing our clients with treatments that allow them to be their most confident self. One such treatment is our facial rejuvenation services that help our clients show off their true beauty.

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09:00am – 05:30pm

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Shop FF12, Target Center, Cat & Fiddle Arcade Complex, 52 – 54 Elizabeth Street, Hobart, TAS 7000

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gentlejack · 5 years ago

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were i fit for another world, how gladly would i go there.

I am resolved not to let my life pass without some private memorial that I may hereafter read, perhaps with a smile.

FULL NAME: Anne Lister.

NICKNAME(S): Gentleman Jack / Jack The Lass ( read: “big old homo” ), Fred or Freddy to certain of her lovers.

AGE: 41

SPECIES: Lesbian (a species of its own?).

NATIONALITY: British.

SEXUAL ORIENTATION: See: species.

OCCUPATION: Landowner, world traveller, womaniser.

FINANCIAL STANDING: Landed gentry.

FANDOM: Gentleman Jack.

FACE CLAIM: Suranne Jones.

RELATIONSHIPS

PARENTS: Rebecca Battle & Jeremy Lister.

SIBLINGS: Marian (younger sister and very much an annoyance in Anne’s eyes); four brothers - one older, three younger (all dead).

SIGNIFICANT OTHER: Ann Walker (verse dependent).

CLOSEST FRIENDS: Aunt Anne; Isabella Norcliffe - a former lover.

RIVALS: Society, an assortment of men daring to cross her path on a bad day, her sister (playfully).

Love scorned to leave the ruin desolate; & Time & he have shaded it so sweetly, my heart still lingers in its old abiding place.

PHYSICAL TRAITS

EYE COLOUR(S): Dark brown.

HAIR COLOUR(S): Dark brown.

HEIGHT: 173 cm.

BODY BUILD: Athletic, strong, tall, upright posture.

NOTABLE PHYSICAL TRAITS: A dashing wardrobe, confident gait, and memorable facial features.

SMELLS: Earth, fresh air, heavy wool, ink, slight whiff of eau de cologne.

CLOTHES: Top hats, long skirts, silken cravats, waistcoats, fine button-up shirts, leather boots, billowing greatcoats, gloves.

BODY LANGUAGE: Proud, active, fearless, energetic; she has brought Efficiently Butch-Stomping Whilst Shouldering Aside An Assortment Of Men to utter perfection.

It was my journal that frightened people. She had made up her mind not to open her lips before me.

PHOBIAS AND DISEASES

FEARS: Loneliness. Failure. Conformity. Captivity. Heartbreak.

MENTAL ISSUES: Obsessive Tendencies.

PHYSICAL DISORDERS: Endometriosis.

PERSONALITY

USUAL MOOD/EXPRESSION: Carelessly self-assertive.

MORAL ALIGNMENT: Lawful Neutral.

HOGWARTS HOUSE: Ravenclaw.

FIVE PROMINENT TRAITS: Passion, faith, seduction, knowledge, freedom.

INTERESTS: Mountaineering, geology, meteorology, history, architecture, botany, neuroscience, classical literature, swordsmanship, medicine, anatomy, languages, politics, palaeontology, travelling, women.

BAD HABITS: A certain tendency to brush aside the concerns of others; a sharp tongue & scathing sarcasm - she’s quick to say a hurtful thing or two, this one, quite lacking in delicacy or social etiquette. Money has a tendency to run through her fingers rather faster than she expected. Rumour has it she’s an opportunist, but one thing’s for certain: she values logic and strategy over the regard for others and keeps her heart well-shielded beneath an occasional armour of arrogance and grandeur. Beware of her fiery temper … and her whirlwind coach-driving, as it so happens.

GOOD HABITS: Generosity and an abundance of love to give. Anne is a free spirit, a scientist at heart, very charismatic and in the proud possession of a most winning smile. She values what is hers and remains fiercely protective of her loved ones. Anne is a leader, a care-taker, someone who shoulders pain, responsibility and inconvenience so that others will not have to. She gives as freely and readily as she takes and has a keen, joyful mind.

I love & only love the fairer sex & thus beloved by them in turn, my heart revolts from any other love than theirs.

BIOGRAPHY

Anne is the oldest surviving child of Rebecca Battle and Jeremy Lister. Born in Market Weighton on the 3rd of April in 1791, Anne received a clerical education from a private tutor & reverend. Her exploration of her lesbian tendencies began after the year 1804, when she met her first love at Manor House School in York. To absolutely no one’s surprise, Anne was kicked out of boarding school for her lesbian relationship. She had soon enough begun to make rather a name for herself as an untameable young woman determined to seduce her female companions and break traditional gender roles (and quite a few hearts along the way). Since the academical world was denied to her, she continuously sought out private lessons from leading scientists and teachers. In her adult years, she received a one-on-one education in anatomy and palaeontology on behalf of Georges Cuvier in Paris.

Anne quickly cultivated a passion for – well, not only lesbianism, but also classical literature, mountaineering, science, and travelling. After her uncle’s death, she inherited his estate, Shibden Hall, though she had been acting as the head of the family for some time, running the coal business and organising the tenancy. She accumulated a fair amount of wealth over the years and has no qualms spending it on her extravagant lifestyle - but can she afford what her heart desires most - a wife? We shall see …

IMPORTANT WOMEN IN ANNE’S PAST & PRESENT

Eliza Raine: Anne’s first lover, whom she shared a room with at boarding school as a teenage girl. Isabella Norcliffe: A former girlfriend of Anne’s, nicknamed “Tib”. They met in 1810 and remained friends throughout Anne’s life, though Anne heavily disapproves of Isabelle’s alcoholism. Mariana Lawton: The woman who caused Anne to wear black, since Mariana’s marriage to a man plunged Anne into deep mourning. They met in 1814 and still uphold frequent contact, occasionally meeting up for a bit of a lesbian romp. Maria Barlow: A widow Anne met in Paris and maintained a relationship with for two years, between 1824 and 1826, before they fell apart and Anne returned to England. Vere Hobart: Another addition to a long list of women who left Anne in favour of becoming a man’s wife. Vere is Anne’s latest love before meeting Ann Walker. She settled down in Hastings with her for the duration of a winter, firmly planning on spending the rest of her life in her company. Until, that is, she met Vere’s groom-to-be. Ann Walker: Wealthy, sweet, kind little Miss Walker. Surely Anne is not in love with her. Surely she cares little about her company. Surely this is all just a game. Surely Anne just courts her for her money and social standing. Certainly. Doubtlessly. Definitely.

ANNE AND RELATIONSHIPS

Frankly speaking, Anne LOVES to flirt - a bit of good-natured, harmless flirtation is one of her favourite pastimes, regardless of her current relationship status. When she’s not committed to another woman, she’s quite ready to take things further & far beyond a mere exchange of charm. Anne is very confident in her sexuality and wastes no time obsessing over the 19th century morality of her conquests. She loves women, she loves being around them, she loves looking at them and courting them, and she loves being intimate with them behind closed doors.

But it is important to note that all of those affairs are private. Due to the nature of the society she lives in, Anne can not let herself be seen openly kissing a woman and confirming the many rumours circulating about her and her female “acquaintances” ( who, by the way, she keeps in close touch with even after years. You physically CAN’T avoid Anne’s exes forever).

When Anne falls for someone, she falls hard and fast. She becomes very attached and demonstrates the deepest care and affection. But even so, she knows how to set boundaries for herself, regardless of what her heart wants. She has been thoroughly educated on looking out for herself in a relationship. If she is hurt beyond a certain point, she’ll be gone. Additionally, she can be calculating in her choice of partners, particularly when it comes to (unofficial) marriage. Anne is the head of her family and the one in charge of running Shibden, so any permanent commitment to a woman depends first and foremost on her lover’s social and financial standing.

( Unless … you manage to change her mind. )

See here for sexual boundaries & preferences.

TL;DR: Anne Lister is best summed up in the words of my girlfriend, who ever so wisely described her as follows: Anne: I'm very calm and classy. Also Anne: STOMP STOMP STOMP TANTRUM TANTRUM TANTRUM STOMP STOMP LESBIAN ROMP STOMP STOMP.

#( out of shibden. )#i dare to say i am like no one in the whole world. ( anne lister )

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