William Hull – The Artist of Rydal – born 6 May 1820

“….that Nature never did betray

The heart that loved her..”

William Wordsworth:Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798


So wrote Thomas Read Wilkinson, quoting Wordsworth within a Memoriam to William Hull, written a few days after his death in 1880. Many know that the Poet of Rydal was William Wordsworth, who lived from 1813 until his death in 1850 in Rydal Mount in the beautiful Lake District village of Grasmere.

Few know that there was also an ‘Artist of Rydal’, who lived the last 10 years of his life in a house at the foot of Wordsworth’s home, as close as he could be to the memory of the man whose nature poetry he worshipped and tried, throughout his life, to emulate in visual form. That man was William Hull, who was born 200 years ago on this day, 6th May, 1820.

While the poems of the poet laureate, William Wordsworth, are rightly remembered and still enjoyed by many, the paintings of William Hull remain largely undiscovered and his life unknown. Perhaps my keen interest in William evolved from more than my knowledge of his paintings. Perhaps I have been fortunate enough to see deeply into his work as a result of my understanding of his life, for when that it understood, his paintings allow an absorption that his friend, John Ruskin, might have discerned or that a buyer of his work, such as Prince Albert, Queen Victoria’s husband, might well have perceived.


A good example is Harvest Scene (shown above), believed to have been one of the three paintings of William’s exhibited at the 1857 Art Treasures Exhibition in Manchester. Prince Albert is understood to have bought this and one other, prompting his friend Thomas Letherbrow to note in his Memorial to William, published in The Portfolio in 1886: “It may seem strange …..  though he was appreciated by so good a judge as Prince Albert (who during his visit to Manchester in 1857, manifested his approval of our artist’s work by purchasing a couple of specimens) he should be so little known.”

This was written 134 years ago, so little wonder, if he was “so little known” then, that he should be almost forgotten now. Yet, once a sufficient number of his pictures are seen and then those images are wrapped within the tales of his life, his compassion, the deepest of struggles that never diminished his congeniality, it is hard not to be infected with a desire to see more of his work and to see more within each one.

Who Was William Hull?

My knowledge of the forgotten “Artist of Rydal” came from research into a book that I have recently published: All the People. That is a story (written in the form of a novel) centred on his father, James Hull, as he took his wife and children from a farming life in Bedfordshire into the harshness of a Manchester riddled with poverty and disease in the 1830s. James was a missionary for the United Brethren, the Moravians, and the story is about his mission of restoring a semblance of life for the people of Little Ireland in Manchester in the early nineteenth century and those, like Hugh Hornby Birley, a mill owner who led the Yeomanry at Peterloo in 1819, and who constantly fought against James and all those that threatened the established order


William was James’s fourth child and one of two brothers that, from an early age, were fascinated by the natural world around them and determined to build that excitement into visual art. The brother, Edward Hull, became an engraver and a well-respected newspaper illustrator for the The Illustrated London News as well as a renowned book illustrator.

William’s future had, his father prayed, been decided when he was sent to Ockbrook, a Moravian school, where it was assumed he would follow its teachings into a church calling. Unfortunately for James, one of the teachers there was Alexander Crossart Hasse, whose family ran a printers in Bradford. Alexander was an artist and, discovering William’s ability, provided patient instruction. Therefore, some years later, when William was a teacher at a Moravian school at Gracehill in Ballymena, Ireland, he decided to leave the church to pursue a life in the arts. His father, somewhat distressed, found him a job in a printers, Blacklock and Bradshaw in Manchester. It was a business that was fast becoming known for its railway guides but it did not appeal to William, who found alternative employ with M. Janvrin, a merchant from Jersey. He took William throughout Europe as a tutor for his two sons. It was a journey that lasted several years and afforded ample time for William wrap himself inside the landscapes of Switzerland, France, Germany, Belgium and the Netherlands, absorbing, learning and painting.

As much for an ability to inquire into the natural world is William’s recording of a time that has long passed. His hundreds of paintings show the, mainly, English landscape of the 19th Century in stark contrast to the present. An example is the drawing of Torside Bridge on the River Etherow in Derbyshire, painted in 1852 which stands in marked contrast to today’s roadway by the Torside Resevoir, although that was built around the same time).


William shirked the use of harsh, prime colours as can be seen here. John Ruskin criticised this absence, but William painted what his heart and skills extolled. As Thomas Letherbrow wrote in 1886: “so familiar with Nature, that she seemed often to take the pencil from his hand and make her own record; his doctrine being that you must first know a scene thoroughly, and, next, that you must love it with your whole heart, before you can paint it worthily.”

For anyone interested to read more (and see more of William’s work), I have written a longer note on William, composed as an autobiography, as if in his own words. I will set about publishing that in some form. I also have a number of his paintings and drawings.

His life in brief includes his marriage to Mary Newling in 1847 after a stroke in his thirties that left him deaf and lame; his continued work that led to friendships with those like the renowned critic and painter John Ruskin and the purchase of his paintings by Prince Albert; the formation of the Manchester Academy of Fine Arts, with William as one of ten Founder Academicians in 1859 – Sheila Dewsbury in her history of MAFA (‘The Story So Far’) describes him as “a landscape painter with a natural sense of beauty”; works exhibited at the Royal Academy and other noted galleries in England; the awful death of his wife on 3 Dec 1861 while they were in Betws-y-coed in Wales with other painters (she was subject to epilepsy and died after a savage episode, in a coma for four days); the death just a week later of Prince Albert, who William had seen as somewhat of a benefactor; his membership of arts and literature clubs such as the Letherbrow Club in Manchester and his ever-continuing painting; his relocation to Rydal in Grasmere in 1870, living close to Wordsworth’s home, where his painting of the Lake District became well known; his death in 1880 and his burial in Grasmere.

Especially poignant are his drawings from that year, which were used in Robert Langton’s book “The Childhood and Youth of Charles Dickens”, a highly successful book. William died halfway through his commission and his younger brother, Edward, was called upon to complete the drawings. So excellent did he consider William’s work that Langton wrote: “It is most probable…that had Charles Dickens lived to complete Edwin Drood, some of the views of Cloisterham given here would have been engraved as illustrations to the story.” It is also the only place I have found a drawing of William.

Scan 2

For now, a “Rest Along the Way” (by William Hull).



Being Cynical about Natural Capitalism

A Cynic “Knows the Price of Everything and the Value of Nothing” – Oscar Wilde

The World Forum on Natural Capital took place in Edinburgh from 21-22 November 2013. This was around 18 months after the Natural Capital Commission was set up in England – see my earlier note on this.

The stated aim is to develop a way of costing the natural environment. In Scotland, the host for the Forum, the Scottish Wildlife Trust stated this as:

  1. Calculate the monetary value of Scotland’s natural capital and the cost of depleting it. This will involve coordinating experts including accountants, people from business, academics and policymakers.
  2. Communicate to a broad range of businesses and other stakeholders the risk of depleting Scotland’s natural capital and the huge economic value from protecting and enhancing it.
  3. Set up collaborative projects to deliver tangible action to protect and enhance Scotland’s natural capital.

Now, I am sure that all those accountants, business people, academics and so on are completely transparent about the not just perceived benefits but also the pitfalls of accounting for natural assets. I hesitate to criticize my own profession (yes, I am a qualified accountant) but the relatively simple task of accounting for profits, business assets, transfer prices, taxation, royalties, inflation, shareholder value and the myriad of other pricing mechanisms is an industry in itself.

Valuations of properties and land values (land which is marketable) are very difficult; valuations of anything is except in key market driven areas. So, before we consider whether everything should have a price, can everything be priced?

Pricing in the eye of the beholder

Michael Sandel has written vividly about the dangers inherent in pricing everything. The market continues to stretch itself to many aspects of our lives – to everything a price. Oscar Wilde described a cynic as “A man who knows the price of everything and the value of nothing.”

Well, maybe it is time to be a little cynical. The Greek Cynics such as Diogenes believed that humans should be rid of worldly goods and live as close to nature as nature intended.

To them, “natural capitalism” would be a paradox and if the word “cynic” has been usurped to mean one who distrusts others’ motives (a somewhat jaded negativity), then it is still worth us having a good look before we hurtle into the world of valuing nature – purportedly to enable it to survive.

The problem for us all is that we (humans) seem to respond automatically to numbers. Whether it is GDP or wages and salaries or league tables or baseball and cricket statistics or KPI’s or health targets or bankers’ bonuses, the human mind seems to adopt numbers as the common language. This has had ridiculous consequences.

We now actually believe that Gross Domestic Product calculations are a real and meaningful simulation of the value of our existence. We may note that GDP rose when the BP oil spill was in the headlines because of the way that GDP is counted. We may know that GDP rose enormously when the Viet Nam War was in full flight – a rise in our prosperity at the time when so many were dying. We may note lots of things and then discount the “knowing” as we allow our brains to consider only the number.

Just like economic theory is a very poor simulation of reality, using numbers to simulate life is very difficult and a very poor approximation of reality.

Pricing is in the eye of the beholder. When there are many of the same item and large numbers of buyers, then prices can be developed that (at a particular time) can be adjudged reasonable. A day later and the price will change; a bit more demand and the price may rise if the supply stays the same or there is no alternative; a bit less demand and the reverse – all other things being equal (which hey never are).

Yet, pricing is the underpinning of the marketplace and serves its purpose – allowing us to satisfy demand through the pricing mechanism. Where it is less workable is where the market is not large enough or where the item being priced is unique.

For a work of art, this does not matter too much. Such a work of art as the Francis Bacon triptych which recently sold for $142m or the $58.4m for a Jeff Koons painting potentially hurts no-one but the wealthy buyer should the price collapse overnight. Anyway, no one will be revaluing these works until they are re-sold. While the loss to public exhibition may be a shame (if they are kept locked away) it is not a tragedy.

For our natural capital, there is a different set of criteria.

Valuing quality

 Traditionally, major projects have used a form of cost-benefit analysis. Prices or costs are provided to each part of a project and the benefits calculated overall. In this way, countless projects (corporate and public sector) are continuously appraised.

Recently, the HS2 rail project proposal in the UK has been treated in this way. HS2 is a plan to link London to the north of England by a £50 billion investment programme (which some think will rise to £80bn) – to speed up rail links and to provide much more capacity. In this way, it is believed that significant benefits will accrue to the northern towns (although many see the benefits accruing to London as more northern towns become commuter towns for the capital).

As Frank Ackerman (an Environmental Economist) wrote in 2008 in an excellent paper for Friends of the Earth that there are six major flaws with cost-benefit analysis that he calls:

  •    Pricing the priceless
  •   Troubling Trade-offs
  •   Uncertainty and Precaution
  •   Distorting the Future
  •   Exaggerated costs
  •   Partisans and Technicalities

His paper warns against the simplistic tendency of cost-benefit analysis – its atomistic view of the world (a world of numerical opinions – usually slanted towards where the answer is directed to be).

The alternatives to simplistic cost-benefit analysis include one (the precautionary approach) that approximates to Nassim Nicholas Taleb’s antifragility proposition – or at least an approach tending to resilience.

The inclusion of natural phenomena and the benefits that accrue from them into a numbers game is a tremendous risk. It suggests that we hurtle towards some valuation methodology because we are caught up in the spirit of pricing everything. Yet, we don’t hesitate enough to consider the ability of the valuers (those who make the key assumptions which drive the computations) – which include those who work backwards from decisions they want taken to those who are inadequate in their assumptive judgements.

It is normal for large projects to overrun in terms of cost by two to three times and most large projects overrun substantially on timescale. This means that basic projects cannot be properly valued – how difficult is it to put a price on our natural capital and use those calculations in determining how we use the natural resources / capital? It is not our ability to compute that is at question – it is a mix of our ability to ask the right questions, to set the right assumptions and to reason on a qualitative basis.

Private and Public (People) needs

The sectors involved in developing natural capital accounting and using them for decisions are naturally coming at this from different directions. The private sector, especially large companies naturally concerned about the long-term sustainability of their businesses, need to evaluate their impact on the environment and on their raw material base in order to see their long-term survivability.

This is an essential survival tactic in a world with limited access to natural resources and where it is understood by companies that their customers are also taking impact on environment (for example) seriously. For almost all businesses, taking account of natural capital is a fundamental need of the 21st Century marketplace but should not be seen as companies becoming primarily societally driven. Accounting for natural capital wherever possible is a natural go-to for business. It sets up an accounting mechanism which, after all, is the basic language of business and which can be used for decision-making and for influencing those decisions internally and externally.

The external decision-makers are citizens – local, regional, national and international – often (not always) represented by the public sector (and, in many countries, misrepresented).

Quantity versus Quality


The problem for people (us) is, of course, fundamentally different to those of businesses that are fighting for long-term sustainability and want to manage their use of resources (and look for substitutes) and help the marketplace to view them as 21st Century businesses that are aware of society’s needs. Accounting for natural capital can help to do that.

Citizens (however grouped) have another consideration – the quality of life outside the quantity of goods and services that they can buy.

Quality of life includes good air to breathe and a sustainable climate – items not quite on Maslow’s hierarchy of needs or developed in his basic needs structure – which was, after all, originally developed for business marketing purposes.

Government (local, regional, national and international) is our representative – tasked with managing our natural capital to our benefit (along with private owners). The key question is whether Government understands that the issues are not just about how business remains sustainable (a world dominated by GDP) but how the quality of life is sustained for all of its citizens. While this includes key quantitative factors such as economic well being, that is not all.

To citizens, the environmental impact of business misuse is not just an “externality” that needs to be costed into business decisions. These so-called externalities are central parts of our existence.

So, one of the key questions is how to develop a framework that incorporates the requirements of the two sectors – private and public (here being used to define what people need) and the issues of quantity and quality.


Keeping that balance is the key – we should not be overly dependent on the numerically calculative approach as that leads to more goods and services but a natural environment that is depleted not just of raw materials but also the naturally occurring benefits on which life depends.

We cannot completely guard our natural capital either – as that will deprive us of needed goods and services.

Counting the costs and benefits of natural capital may assist in some ways to prolong sustainable business but real leadership on behalf of all of us should understand that counting is a tool – only to be used in certain situations and only as an aid to considered thinking – the use of our human brains in determining qualitative outcomes.