This essay deals with a group of late-nineteenth-century landscape paintings that were painted for members of club movement, who leased salmon rivers in Atlantic Canada for sport fishing. In Canada, as elsewhere, removal of Native rights to animal world, through introduction of policies and laws restricting hunting and fishing technologies and access, went hand in hand with aesthetic appropriation of environment as For this reason it can be argued that in picturing Atlantic Canada as recreational landscape of these elite tourists-a sportsman's paradise-paintings of region are also products of history of Native exclusion from Atlantic salmon fishery. Thus they provide a point of access to complex history of Native-settler interaction for public art galleries in Canada currently involved in incorporation of Native North American material into existing public narrative of Canadian art. Le present article porte sur un groupe de peintures paysagistes du dernier quart du XIXe siecle qui ont ete realisees par des membres du mouvement des clubs de sportifs qui louaient des rivieres a saumon dans le Canada atlantique pour faire de la peche recreative. Au Canada, comme ailleurs, la suppression resultante des droits autochtones au monde animal-par l'introduction de politiques et lois restreignant les technologies et l'acces a la chasse et a la peche-est allee de pair avec l'affectation esthetique de l'environnement comme paysage. Pour cette raison, on peut avancer qu'en montrant le Canada atlantique comme le paysage recreatif de ces touristes d'elite (un paradis des sportifs), les peintures de cette region sont egalement un produit de l'histoire de l'exclusion autochtone des peches au saumon atlantique. Ces peintures fournissent donc un point d'acces a l'histoire complexe des interactions entre les Autochtones et les colons pour les galeries d'art publiques au Canada qui essaient presentement d'incorporer du materiel autochtone nord-americain dans le recit public actuel de l'art canadien. Landscape as a cultural medium ... has a double role with respect to something like ideology: it naturalizes a social and cultural construction, representing an artificial world as if it were simply given and inevitable, and it also makes that representation operational by interpellating its beholder in some more or less determinate relation to its givenness as sight and site. Thus, landscape (whether urban or rural, artificial or natural) always greets us as a space, as environment, as that within which (figured as the figures in landscape) find-or lose-ourselves. An account of landscape understood in this way therefore ... has to trace process by which landscape effaces its own readability and naturalizes itself and must understand that process in relation to what might be called the natural histories of its own beholders. [It is a question of] what we have done and are doing to our environment, what environment in turn does to us, how we naturalize what we do to each other, and how these doings are enacted in media of representation we call landscape. W.J.T. Mitchell (1994, 2) This essay focusses on a significant body of landscape paintings from last quarter of nineteenth century that depict, or were painted for, recreational fishermen from central Canada and northeastern United States who leased salmon rivers in Atlantic Canada for sport fishing. The pictures, which deal with common subject matter, were painted for art patrons and collectors who were active participants in sportsmen's club that swept northeastern North America in mid-1870s. Each reproduces motivating ideas of movement, giving visual expression to contemporary notions of wilderness as a therapeutic environment, an antidote to debilitating effects of urban-industrial civilization. It was in pursuit of this wilderness experience that movement organized elite tourists into private clubs for pursuit of sport, which was conceptualized as a form of personal involvement in rhythms of nature and for preservation of game, which they saw as threatened by same urban-industrial capitalism that compelled their periodic retreat to wilderness. …