1. Charles Nuttall spent much of his working life in Melbourne, apart from a period in New York City from 1905 to 1910.
51 Facts About Charles Nuttall
1. 2.
Charles Nuttall's painting, completed in June 1902, was notable for the large number of identifiable portraits of the dignitaries present at the ceremony.
3.
In 1905 Charles Nuttall travelled to the United States and established himself in New York City, He was employed by the New York Herald to draw the 'Buster Brown' comic strip and had his cartoons and illustrations published in a variety of illustrated magazines.
4.
Charles Nuttall was employed as a book illustrator for the Stratemeyer Syndicate company which produced fiction for children.
5.
Charles Nuttall illustrated an estimated 64 different titles over a period of about three years for the company.
6.
Charles Nuttall returned to Australia in 1910 and established a studio in Melbourne, where he produced cartoons, book illustrations and taught drawing classes.
7.
Charles Nuttall was employed as a cartoonist for Melbourne's Punch from 1913 to 1918.
8.
James Charles Nuttall was born on 6 September 1872 in the Melbourne suburb of Fitzroy, the eldest born and only son of James Charles Nuttall and Caroline.
9.
Charles Nuttall's parents encouraged their son to pursue an artistic career and in 1895 Charles Nuttall enrolled in the Art School conducted at the National Gallery of Victoria in Melbourne.
10.
The drawing classes were held under the instruction of Frederick McCubbin and under his guidance Charles Nuttall developed a confident linear style of illustration.
11.
Constrained by colour blindness, Charles Nuttall focussed on black and white and monochrome work.
12.
Charles Nuttall joined the Victorian Artists' Society in 1896, where he was an occasional exhibitor.
13.
Charles Nuttall was a prominent member of Melbourne's bohemian community of writers, artists and poets.
14.
Charles Nuttall belonged to the Melbourne Savage Club, a private social club with a bohemian spirit.
15.
In 1898 and 1899 Charles Nuttall conducted drawing classes at the Collingwood School of Art held in the Collingwood Town Hall.
16.
Charles Nuttall was an early member of the Melbourne Black and White Club which formed in 1900.
17.
Charles Nuttall served as secretary of the Black and White Club.
18.
From about September 1901 cartoons by Charles Nuttall were occasionally published in The Bulletin magazine, based in Sydney.
19.
Charles Nuttall was commissioned by the Commonwealth Publishing Company Ltd.
20.
Charles Nuttall was asked to include as many recognisable faces as possible in his painting, for which purpose he arranged sittings with some of the attendees in order to sketch their features in preparatory drawings.
21.
Charles Nuttall was required to travel to other states to complete some of his preparatory drawings.
22.
The sale of prints of Charles Nuttall's painting suffered in comparison to Tom Roberts' painting of the same subject, completed in November 1903, of which monochromatic sepia-toned photogravure prints were sold.
23.
In newspaper advertisements and a pamphlet issued in connection with the sale of prints of Charles Nuttall's painting the claim was made that the painting "was produced under the personal patronage of all members of the Federal Government", but this claim was refuted by the prime minister, Edmund Barton, after enquiries were made by the group that had commissioned Tom Roberts' painting.
24.
In 1903 a booklet by Charles Nuttall titled Peter Wayback Visits the Melbourne Cup: 15 Humourous Sketches, selling for threepence each, was published by Edgerton and Moore of Melbourne.
25.
In January 1904 it was reported that Charles Nuttall had been commissioned by the Melbourne Cricket Club to complete a painting of the final test match between Australia and England, to be held at the Melbourne Cricket Ground in early March 1904.
26.
Charles Nuttall's painting was reproduced by the Australian Fine Arts Publishing Company and prints were sold for one guinea.
27.
Charles Nuttall's drawings were used to illustrate an article in the July 1904 issue of Life, written by the pianist, Ignacy Jan Paderewski, in which he "gives a bright and breezy account of his 'day's work'".
28.
Charles Nuttall's illustrations were described as "sketches from life", one of which was "a very fine whole-page study of the pianist's head, drawn whilst he was actually playing the piano".
29.
Charles Nuttall had his work published in The New Idea, another of the Fitchett brothers' publications.
30.
In June 1904 Charles Nuttall was appointed as the "special cartoonist" for Melbourne's Table Talk magazine, replacing Claude Marquet who had left Victoria "to fill an important position in a neighbouring State".
31.
Charles Nuttall became responsible for the regular double-page political cartoons in the body of the weekly journal.
32.
In early 1905 Charles Nuttall designed the cover of an information booklet about the Australian Women's National Club that had been established in Melbourne.
33.
One of Charles Nuttall's cartoons was used as the cover illustration for the 9 January 1908 edition of Life.
34.
Charles Nuttall joined the staff of the New York Herald and was engaged to draw the 'Buster Brown' comic strip, possibly as early as 1906.
35.
The fact that Charles Nuttall was involved as early as 1906 possibly indicates that he was employed to draw the 'Buster Brown' comic strip soon after Outcault's departure.
36.
Charles Nuttall ordered that any copies of the book already sent to booksellers be recalled.
37.
Charles Nuttall requested that the artist use Shute's illustrations as a stylistic guide "but give us something clean-cut and gentlemanly", adding that "we prefer pictures 'filled out' to the marginal lines".
38.
Charles Nuttall was commissioned to produce illustrations for many of the Stratemeyer Syndicate titles for the remainder of his period of working in America.
39.
Charles Nuttall departed from New York in June 1910 "to take a three months' holiday trip through Europe" before returning to Australia.
40.
Charles Nuttall returned to Melbourne from Europe in November 1910 aboard the mail steamer Bremen.
41.
Charles Nuttall added that "the daily paper humorist is one of the most highly-paid and hardest to get" and "the man who has succeeded in Melbourne should certainly succeed in New York, but there is no earthly chance for the third-rater".
42.
Charles Nuttall became a regular contributor to Everylady's Journal, first published under its new name in June 1911.
43.
In 1911 Charles Nuttall was one of seven artists who contributed illustrations to a publication commemorating an incident in the Second Boer War in February 1900 when members of the Victorian Mounted Rifles were part of a force covering the retreat of the Wiltshire regiment by holding a kopje named Pink Hill, west of Rensburg, against overwhelming odds.
44.
From his period of working in New York and his subsequent world travels, Charles Nuttall made use of his experiences and sketches in his pictorial journalism in Life magazine and other publications, as well as during his later radio talks in the late 1920s and 1930s.
45.
In 1926 Charles Nuttall began a series of "travel talks" on the Melbourne radio station 3LO.
46.
Charles Nuttall established a reputation as an engaging and wide-ranging broadcaster, known for "his wit, travelogues, and his healthy philosophy".
47.
Charles Nuttall's talks were broadcast on both 3LO and 3AR from 1926 until 1934.
48.
In July 1927 Charles Nuttall contributed an article to the Australian Life, described as his "discourses on the world at large and its affairs".
49.
Charles Nuttall had been a contributor to the Australian edition of Life since its inception in 1904, both as a writer and artist.
50.
Charles Nuttall died on 28 November 1934, aged 62, of a cerebral haemorrhage at his home in Pasley Street, in the Melbourne suburb of South Yarra.
51.
Charles Nuttall was buried in Boroondara General Cemetery in Kew.