Two years later, 1817, when he had completed his apprenticeship, he went to London, where he studied drawing and painting under Benjamin Haydon, and anatomy with Sir Charles Bell, where he had, as fellow students, amongst others, Charles Lock Eastlake, the P.R.A., George Lance, the fruit painter, and Sir Edwin Landseer. He soon became a most distinguished draughtsman and illustrator of books, his fame rising rapidly. For many years he stood prominently in the front of all others. Amongst his earliest works were "Henderson's Book on Wines," for which he not only made the drawings but engraved them all himself. It is further interesting as being the first work that bore his name. His great ability both as draughtsman and engraver is shown in the reproduction of an elaborate work from Benjamin Haydon's picture of "Dentatus"—which even in these advanced days must be held as a remarkable example of wood engraving, being, strictly speaking, a marvellous imitation of a copperplate, done in the grand line manner. Haydon no doubt induced Harvey to undertake this work to satisfy his own vanity, for he was not a man "who cared for others."
About this time he gave up engraving altogether and devoted himself entirely to drawing on wood.
William Harvey was a great and highly-gifted artist, a true man, a friend and counsellor to us from the time of our earliest efforts to the day of his death. He was a fine conversationalist, brimful of anecdotes, chiefly concerning a notable group of artists, authors, and men of law, many of whom had gone, and others who were then passing away. As an illustrator he held the town for many years, and in connection with Charles Knight did much to popularise black and white work; but even in his own time what changes took place! He said that in his early days if merely a frontispiece were wanted for a book, John Murray would invite him and John Thomson, the engraver, to dinner at Albemarle Street, that they might discuss the subject fully before beginning the work.
always yours truly
William Harvey
In his more important works Harvey always tried to push forward one or more young and unknown engravers of promise—in fact he was the young man's friend.
Of course he had many imitators; coming men begin by imitating the manner of the successful men who have gone before. He used to say, "The young man jumps on the shoulders of the old man, looks over his head, and consequently sees much farther along the road." Strong examples of this are shown in the early works of Sir John Gilbert, which alternated in likeness to William Harvey, Kenny Meadows, and George Cruikshank; but in a later stage took on much from the great German artist, Menzel.
The following are a few instances in illustration of young men building up their style by studying the old professors in their art, which we call to mind as occurring in our own experience:
William Harvey felt complimented by John Gilbert gleaning from his works; while George Cruikshank was highly indignant with Gilbert for what he called "cribbing his brains," and threatened to go down to Blackheath and "thrash the fellow." Gilbert, on being told this, only laughed, and said, "I don't think he knows what sort of man I am."