Nash mustered a number of influential supporters to propose him for appointment as an official war artist, including Edward Marsh, Francis Stopford, Editor of 'Land and Water', and William Rothenstein. Buchan and Dodgson were not such fans of his work initially, but bowed to pressure and obtained Nash's release from his existing military service, an initial period of four weeks which was subsequently extended several times.
The file includes Nash's autobiographical notes (18-19) and his signed agreement (20). Once in France, Nash wrote lengthy and entertaining reports about his activities, problems encountered including his expenses, and lists of drawings sent back. There is also discussion about the Nash issue of 'British Artists at the Front', for which Nash's friend Robert Nicholls was intended to write the one of the essays, although it was ultimately written by John Salis. The other was written, as usual, by C E Montague, but the original text was lost by the publishers. There is also some correspondence regarding the portrait of Nash by William Rothenstein, included in the volume.
The Ministry actively worked to place reproductions of Nash's works in magazines and other publications, for example Country Life.
In March 1918 Nash held an exhibition at the Leicester Galleries (May 1918), and the file includes proofs of Arnold Bennett's introduction to the catalogue.
There are papers relating to the acquisition of works by the Imperial War Museum, for example at (59) regarding IWM:ART 721-4, and, at (78) a list of works including those purchased by others, including Beaverbrook, the Contemporary Art Society and the Canadian War Records. Financial matters are also discussed, including payment for Nash's studios, and other payments and expenses.
At (154) is a list of works completed, in hand and planned, in relation to the transfer of Nash's contract from the MoI to the IWM.
There are also occasional letters either by or about his brother John Nash (36), (65-6).