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coach discount need to leave the Journal Sentinel building. Graeme Reid, the assistant director of the Museum of Wisconsin Art was interested in seeing what work we had in our art collection here. The Journal and Sentinel both had a history of being good patrons of the arts, as has the Journal Sentinel from time to time.Armed with a list of major works in the collection from our files, Graeme and I began scouting out artworks in hallways and offices. I met people I'd never met before and walked through departments I didn't even know existed. We work in a pretty large, labyrinthian structure.It was especially a delight to see Graeme lay eyes on Gustave Moeller's "Mississippi Bluff, De Soto." He was keeping an eye open for it especially and told me he thinks its one of the best Moeller paintings there is. In his teens, Moeller apprenticed in a small, commercial studio with a photographer who would one day be one of the most famous of the 20th century, Edward Steichen. Moeller is known for his depictions of small, Wisconsin towns.It seemed like there was a Mel Kishner inside every office and closet. Graeme thinks we probably have one of the largest collections by this artist, which make sense he was the former art director at the paper. The group of Kishners are uneven. I liked some much better than others, but it would be interesting to gather them all together and see them in context (see image, right).I took Graeme to see a portrait of Frances Stover by Francesco Spicuzza sitting sideways on Chris Foran's desk. Chris, one of my editors, grabbed the piece when we consolidated our newsrooms last year. It seemed