Framed prints of the painting were marketed as patriotic adornments suitable for public buildings, schools, places of business and private homes.

During the next few years Nuttall produced book illustrations, political cartoons and began a life-long association as a writer and artist for the Australian edition of Life magazine.

His 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.

A number of Nuttall's "spirited chalk-drawings" (described as being "admirable as rapid studies") were included in the club's first exhibition held in July 1900 at their rooms at 62 Elizabeth Street.

[13] After Federation the first Australian parliament was opened on 9 May 1901 by Prince George, the Duke of Cornwall and York, in a ceremony held in the western annexe of the Royal Exhibition Building in Melbourne.

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.

In early February 1902 he travelled by steamer to Adelaide to complete sketches of the Governor and other "prominent" South Australians who had attended the parliamentary opening.

The article concluded: "From the artistic point, it is hardly fair to judge Mr. Nuttall's work at all, but the painter may be congratulated on having produced a picture that has been conscientiously treated, and that, we hope, will have considerable commercial value".

[16] By March 1903 the painting had been shipped to London where photogravure prints were produced by the fine art publisher, James Greves of New Bridge Street.

[21] An entity called the Historical Picture Association of Australia, under the management of Abraham S. Gordon, obtained the sole rights to sell and distribute reproductions of Nuttall's painting.

[26][23] The marketing of the prints of Nuttall's painting by A. S. Gordon after July 1903 became the subject of controversy in the colonial press in the ensuing years, with reports of his activities including allegations of fraudulent behaviour.

[29] Nuttall produced twelve illustrations for Tales of Old Times: Early Australian Incident and Adventure, written by C. H. Chomley and published in 1903 by W. T. Pater & Co. in Melbourne.

[38][39] Nuttall's drawings were used to illustrate an article in the July 1904 issue of Life, written by the pianist, Ignacy Jan Paderewski (then touring in Australia), in which he "gives a bright and breezy account of his 'day's work'".

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".

[41] In June 1904 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".

The club was associated with the Australian Women's National League, a conservative political lobby group with the objective of influencing female voters.

On the eve of his overseas departure a writer for Adelaide's weekly magazine, The Critic, described Nuttall as "a newspaper artist of the 'useful' type", adding: "None of his work is particularly brilliant, and as a caricaturist he is not prominent".

In a subsequent court decision the Herald retained the rights to the name 'Buster Brown' and continued to publish the comic strip in its Sunday edition using other artists.

The first volume by Cupples & Leon, Buster Brown, His Dog Tige and Their Jolly Times, compiling part of the final series of Outcault's Herald comic strips, was published in 1906 with a cover by Charles Nuttall.

[57] Nuttall's New York studio was located nearby to the residence of the celebrated writer and humorist Mark Twain, then aged in his early seventies.

After Mark Twain died in April 1910 an article written by Nuttall recalling details of the visit, and illustrated by his sketches of the writer, was published in the June issue of the Australian Life.

Stratemeyer resolved to find an artist to provide replacement artwork for Dave Porter's Return to School and decided to meet with Nuttall.

He 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".

[50] A selection of Nuttall's "character sketches from life", titled 'Americans To-day', was published in Melbourne's Table Talk in September 1908; the full-page of illustrations included various stereotypical images of racial and ethnic groups.

[70] In 1911 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.

[73][74] In June 1916 an exhibition of cartoon illustrations by Nuttall and George Dancey, both artists working for Melbourne's Punch newspaper, was held at the Athenaeum Hall.

[3] During the conscription debate Nuttall was in favour of a 'yes' vote, made apparent by his cartoon in Punch showing voters equally balanced on a giant scale, 'yes' on one side and 'no' on the other.

[3] In the early 1920s Nuttall taught classes in black and white drawing, caricature and commercial art at his studio in the Block Arcade in Collins Street.

From his period of working in New York and his subsequent world travels, 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.

[83] 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.