He also worked for many years as a journalist for Country Life; notably penning a regular column on fishing while occasionally contributing stories on other topics to the magazine.
[1] His mother was the sister of the British philanthropist Basil Henriques, and herself a talented angler who at one time was a record holder for the catching of salmon.
[1] After graduating with a degree in law, he matriculated to the Slade School of Fine Art where he was a pupil of Randolph Schwabe and Karl Hagedorn.
Beddington began his career as an artist in London in the 1930s; initially aided by his former teacher Bernard Adams and Arnold Henry Mason, a Chelsea-based painter.
[1] The two men helped Beddington build connections with the artist community in that city; with initial presentations of his art in group shows.
[1] He also assisted Beddington in other projects; including setting him up with his first one-man art shows at the London galleries of Ackermann, Grafton, and Walker.
[1] In a review in The Guardian of the latter work, critic Gilbert Thomas wrote: 'Two in a Valley'—a handsome quarto—is the sketch-book of a successfully 'atmospheric' artist in black and white.
Mr. Gwynn's accompanying letterpress, setting down the impressions of a comparative stranger in the Coln Valley, is slight, and sometimes, quite irrelevantly, he follows a red herring—or more precisely a trout!
[6] His third and final book, Pindar: a dog to remember (1975), was described by James Fergusson in The Independent as "a remarkably unselfconscious biography of a yellow labrador".
[1] He was involved with national policy making with Britain's Salmon & Trout Association and was a chairman of the Fisheries Committee's Hampshire River Board.