The Nut, Pre-Volstead Days - Charles Demuth Art Print

Fine Art Prints

Forget cheap reproductions and printable posters. Only the best will do. Velvety matte fine art paper (warm white, archival-grade, 200gsm) with bold, vibrant, non-toxic pigment inks. 

High-definition print lab techniques give you sharper details, deeper saturation and true-to-life tones.

The matte surface keeps glare down and archival-grade materials mean the colors you fall for stay vivid for decades.

Framed Fine Art Prints

Your print arrives framed and ready to hang, so it goes straight from the box to your wall.

Chevron cut wooden frames make a timeless statement in three distinctive colors: black, white and natural.

Each frame is made of sustainably sourced FSC® certified European knotless pine, finished with ultra-clear perspex glaze that’s lighter than glass and shatter-resistant.

Float Framed Canvas Prints

Luscious artist-grade cotton canvas, hand-stretched and finely textured, gives every detail depth and precision. Its natural white surface catches light and color with striking clarity.

A precisely measured floating frame leaves a slim gap around the canvas, so it seems to hover with a sleek, gallery-worthy effect.

Your choice of a black, white or natural frame: all made from sustainably sourced FSC® certified European knotless pine.

Giclée Printing

Charles Demuth painted The Nut (Pre-Volstead Days) in 1916, with last call already rattling in the pipes. Three years before the Volstead Act drained the taps, this Greenwich Village saloon still sweats amber.

This is pre-Prohibition nightlife at the moment a saloon counter becomes a stage. Before the country went dry, a nut meant a dandy with more nerve than sense. And here, a dandy barkeep in a cream suit leans loose across the bar, his rust red necktie flickering like a struck match. Facing him, a figure in a black coat blooms cobalt blue at the shoulder. Rouged cheeks. Mouth open mid-sentence.

The watercolor keeps its secrets half-finished. Graphite chandeliers hang in outline, never granted color, and blotted umber pools where elbows rest on ochre wood. Demuth was a gay artist who haunted New York cafés and vaudeville halls between trips home to Lancaster, Pennsylvania. He knew how a glance travels down a counter before Prohibition arrives to end the party.

One stemmed glass waits near the rail, sketched thin and ready to lift. American modernism loosens its collar here, and queer art history writes itself in wet pigment. Hang this art print. Let the conversation stay poured.