By Emery Sanderson, Summer Student, Shawnigan Lake Museum

One of Vancouver Island’s most prolific woodcarvers remains largely a mystery to the majority of the
population, still to this day. George S. Gibson (b. 1867-1942) was an immigrant from Edinburgh
Scotland who, over the course of his life, became a renowned woodcarver creating work for some of
the Island’s most respected names, and even the British Royal family. In 1910, Gibson took his
talents to the shores of Shawnigan Lake. Gibson was responsible for decorating much of Victoria’s
interiors and exteriors, as well as Shawnigan Lake itself. Gibson’s work can be seen throughout
Shawnigan and Victoria to this day: the well-known concrete lion on the lake; carvings in Hatley
Castle; various churches, including Christ Church Cathedral; the Parliament buildings and the CPR
Building in Victoria. It is safe to say that Gibson is widely responsible for Victoria’s High Victorian-
esque aesthetic.

To understand Gibson’s motives and inspirations, we must first dive into his backstory. Born in
Edinburgh, in 1867, to a family of carvers and craftsmen, Gibson attended formal schooling until the
age of 14, where then he was taken under the wing of his father and eldest brother in his own
woodcarving apprenticeship. The Gibson family name already carried a heavy weight in the carving
world, with his father, James Gibson, being a carver for the Duke of Northumberland. Seemingly
from the moment Gibson stepped into the world his path was already laid out for him.
Before making the eventual move to Shawnigan Lake, Gibson had a string of other ventures around
the rest of the Western World. Prior to the 1890’s it would seem the Gibson’s enjoyed a relatively
comfortable life in Edinburgh. The two brothers would learn vital skills working primarily on
churches and cathedrals. This lasted until a large part of Europe entered an economic depression.
Unable to remain in Scotland, Gibson decided it best to leave in search of greener fields.
His first stop was New York, where he continued his trade in a renowned woodcarver’s association.
After this stint in America, he returned to Edinburgh briefly, married, had two children, and promptly
set off again. It can only be assumed that throughout this time Gibson was still living off his trade,
but he decided he needed a change. In a large wave of immigration to the exciting ‘new’ frontier of
British Columbia, Gibson tried to make it as a fruit farmer. However, this did not last long. After one
year of farming in Nelson, Gibson made the move to Vancouver, trying his hand in real estate while
carving simultaneously. Though his farming endeavour did not last long, it should be noted that
gardening remained a prominent aspect of his life until his death in 1942.
After moving in and around Vancouver, Gibson eventually found himself on Vancouver Island,
visiting destinations popular for tourists. While in Shawnigan Lake, a tourist’s paradise, Gibson fell in
love with the land, quickly deciding then and there this is where he should raise his family. Within a
couple months, Gibson threw together a house and a workshop and his family followed soon after. It
should be mentioned that they immigrated at the perfect time for a woodcarver. Shawnigan Lake
and nearby Victoria were wealthy communities rapidly expanding and in need of carvings.
It was during this time Gibson made all of his best-known work, largely in conjunction with noted
architect Samuel Maclure. They designed and decorated Hatley Park Castle, the Parliament Buildings,
Aberthau House, and Tulk (or Rosemary) House, alongside many other projects. Some of Gibson’s
other notable works include the Shawnigan Lion (an anti-political symbol), various pieces at the
Christ Church Cathedral (incl. the stone Robin), many interior details of the Parliament Buildings
(sidings, the speaker chair, etc.) and two oak chairs that British Royalty, still used to this day
whenever they visit Victoria.
On March 9th,1942 Gibson died, after contracting pneumonia a few months after his wife’s death.
Gibson is buried next to his wife in Mill Bay. The vast majority of his work was never signed. He
simply saw the art of carving as just a job. Due to this, the drastic impact Gibson has had on
Vancouver Island’s aesthetic, as a whole, has, sadly, been forgotten.
Watch a Video of “George Gibson, the Forgotten Woodcarver” in the Museum Theatre