a place in that capacity with the Mazawattee Tea Company. However, at Corpus Christi College he studied law and he pursued private studies in art with Bernard Adams. 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. Career 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. The two men helped Beddington build connections with the artist community in that city; with initial presentations of his art in group shows. He met the publisher Noel Carrington, who had a profound impact on his career. Carrington was a publisher with Country Life who was in charge of the book publishing division of that organization. Drawn to Beddington's watercolours, he approached the artist about working for Country Life as an illustrator. 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. Beddington continued to exhibit his watercolours in shows for the next six decades, with his last show being in 1995 when he was 84 years old. He notably competed in the painting event of the art competition at the 1948 Summer Olympics. Many of his watercolours reflect his interest in fishing, and he once wrote: The trouble is, one always wants to fish when one is painting and paint when one is fishing... When one is fishing down a pool, the light suddenly changes and a perfect picture reveals itself. At such a moment I have to make up my mind whether to go on fishing or to take up my paints. In the mid 1930s Beddington illustrated three books with Irish author Stephen Gwynn: The Happy Fisherman (1936), From River to River (1937), and Two in a Valley (1938). All of these books had connections to fish and fishing, and it was Noel Carrington who had brought Beddington and Gwynn together as a team. 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