of seven wood engravings for which he also designed the cover, cut the lettering and wrote the text. At this time he also began painting floral still-lifes as well as continuing his landscape paintings, most notably with Chilterns under Snow in 1923. Throughout 1924 and 1925 Nash taught part-time at the Design School at the Royal College of Art, where his students included both Eric Ravilious and Edward Bawden. In 1924 he held a commercially successful exhibition at the Leicester Galleries. This allowed the Nashes to spend the winter near Nice and visit Florence and Pisa at the start of 1925 after which they moved home to Iden near Rye in Sussex. Iden and the Romney Marshes became the settings for a series of paintings by Nash, most notably Winter Sea painted in 1925 and reworked in 1937. In 1927 Nash was elected to the London Artists' Association and in 1928 held another successful exhibition of his paintings at the Leicester Galleries whilst an exhibition of his wood-engravings was held at the Redfern Gallery the same year. The Leicester Galleries exhibition was notable for showing Nash turning away from his popular landscapes and beginning to explore abstraction in his work. This change in direction continued throughout 1929 and 1930 when Nash produced a number of innovative paintings, Landscape at Iden, with its seemingly unrelated objects placed beside each other amid strong architectural elements, showed the impression the 1928 London exhibition by the surrealist Giorgio de Chirico had made on Nash. Northern Adventure and Nostalgic Landscape, St Pancras Station both paintings of St Pancras Station seen through a lattice work of abstract elements, derived from the frame of an advertising hoarding. The paintings Coronilla (1929) and Opening (1931) both depict openings between spaces in an abstract and cubist manner through which trees or the sea can be seen. The earlier Lares is in a similar style. Nash completed Dead Spring in February 1929, immediately after the death of his father. The painting shows a dying pot plant on a window still surrounded by a lattice of geometrical shapes which include some draughtsman's tools. Like the painting Lares, Dead Spring is thought to show the influence on Nash of having seen the 1928 Giorgio de Chirico exhibition in London. Other media Nash often worked in media other than paint. As well as two volumes of his own wood engravings, Places and Genesis,