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Actors' Fund of America Records

Call Number



1880-2021, inclusive


Actors' Fund of America
Actors' Fund of America (Role: Donor)
Engelman, David (Role: Donor)


47.75 Linear Feet in 55 boxes
6 websites in 6 archived websites.
207.6 Megabytes in 106 pdfs

Language of Materials

Materials are in English. Websites are in English and Spanish.


Founded in 1882, largely through the leadership of Harrison Grey Fiske, the Actors' Fund of America is a human services organization that makes available aid to professionals in the performing arts and entertainment industry. In general, the Actors' Fund acts as a safety net, offering a range of social and health-related services for members of the performing arts community who are in need or crisis. The Fund maintains a home for the elderly with an extended care nursing facility, runs the Al Hirschfeld Free Health Clinic in New York City, and directs a number of other programs and initiatives, including the Actors Work Program, the AIDS Training and Education Project and the Phyllis Newman Women's Health Initiative. Over the years the Fund has raised money to support its programs through annual galas, benefit performances of theatrical productions, fairs, bazaars, auctions, and fundraising drives. The collection includes minutes, annual reports, and general subject files of the Actors' Fund from its founding to 2014. There is substantial documentation of fundraising activities, including files on the planning of benefit performances and lavishly illustrated souvenir programs. A series of scrapbooks, comprised mostly of clippings and printed ephemera about the Actors' Fund and its benefit performances, also includes obituaries of theater professionals and memorabilia collected by individuals associated with the Fund. The collection also contains records entrusted to the Fund by individuals or families and material produced by related organizations, for example, the Basil Rathbone Family Papers, the Aldrich Family Papers, and records of the Catholic Actors Guild and the Society of Stage Directors and Choreographers.

Historical Note

The Actors' Fund of America was founded in 1882 largely through the efforts of Harrison Grey Fiske, the owner of a theater trade publication, the New York Dramatic Mirror. The Fund got off to a rousing start, fueled by Fiske's enthusiasm; by the "instinctive generosity of show people" (Simon, p. 3); and – most important – by the backing of the nineteenth-century theatrical elite, the actor-managers who owned and operated the theaters and from whose ranks the Fund's officers and trustees were drawn. Notable donors and founding members of the Fund included: Albert M. Palmer, Edwin Booth, Joseph Jefferson, Edward Harrigan, and P. T. Barnum. In the founding year, the New York Herald generously gave $10,000. The primary mission of the Actors' Fund was to care for members of the theatrical community when they fell ill and to bury the dead. Its unstated goal was to bring respectability to a profession that was scorned by moralists, and whose members were often refused aid by church-run charities.

As early as 1880, Fiske wrote a series of impassioned editorials criticizing the practice of running theatrical benefits for non-theatrical causes. The benefit performance had been a long-standing theater tradition, though in the late nineteenth-century, proceeds were often filling the pockets of only one individual, usually the lead actor or actress in a particular theater company. Fiske was a crusader for changing the nature of the benefit performance, broadening its purpose to provide assistance to the larger theatrical community. He proposed the establishment of a "Sinking Fund," which would differ in one important respect from other theatrical relief organizations; while the latter were funded by membership dues, effectively shutting out the neediest individuals who could not afford to pay, Fiske's fund would be underwritten by benefit performances – one per theater per year.

In the early years of the Actors' Fund, benefit performances were held annually, generally taking the form of vaudeville style multi-performer revues. Attractively illustrated souvenir programs were produced for each annual Benefit Show. In 1927, a significant breakthrough in fundraising was achieved when the Actors' Fund and the Actors' Equity Association reached an agreement whereby theater companies would put on special performances of productions, sometimes a ninth show during any given week. All proceeds were to benefit the Fund. In addition to annual and special benefit performances for generating revenue, the Actors' Fund also held festive and extremely popular Fairs. The first was held at Madison Square Garden in 1892. Not only was the Fair successful financially, it also brought a new level of respectability to the theatrical profession, as socially prominent individuals flocked to the event. The second Actors' Fund Fair, held fifteen years later in 1907 at the Metropolitan Opera House, was commenced by President Theodore Roosevelt and opened with a speech by Mark Twain.

In the late nineteenth-century, when the Actors' Fund began, actors and actresses often ran away from home to join the theater, and cut ties, or were estranged from, their families. Consequently, if an actor did not gain fame and fortune, and then as now most did not, and death came early or in the midst of a tour, there was often no one to claim the body or make funeral arrangements. Thus the Actors' Fund from its onset looked on burial and funeral arrangements as a central and necessary component of its work. The Fund purchased a section of the Cemetery of the Evergreens in Brooklyn in 1885, a monument was erected through a special fund raising drive, and over 800 theater notables have been laid to rest there. The need was so great that another location was soon required, and another tract was bought at the Kensico Cemetery in Valhalla, New York in 1904. Using funds from the sale of jewelry donated to the Actors' Fund by Miss Georgie Caine, an obelisk monument was established at the Kensico Cemetery in 1940.

Under the leadership of Actors' Fund presidents Arnold M. Palmer and Louis Aldrich, an important charge the Fund took on was caring for those members of the theatrical community who were past working age. Thanks in part to the proceeds generated by the 1892 Fair and from additional donations from the New York Herald as well as from trustee Al Hayman, the Actors' Fund purchased a beautiful home on Staten Island to serve as a retirement facility for elderly members of the theatrical community. The Actors' Fund Home officially opened its doors in 1902. New York City decided in 1928 to expand a park adjacent to the Actors' Fund Home, and so the Fund acquired the former six-acre country estate of Hetty Green and relocated the facility to Englewood, New Jersey. By the 1950s, the Home was already in need of expansion and when the Percy Williams Home located on Long Island and the Edwin Forrest Home located in Philadelphia closed their doors, the Actors' Fund accommodated growing needs by adding the Percy Williams and Edwin Forrest Wings to its facility. Today the Actors' Fund Home, now called the Lillian Booth Actors' Home, consists of a retirement residency and an Extended Care Facility and provides comfortable assisted living and highly skilled nursing care.

Fund-raising and relief work remain the organization's chief activities. In addition to benefit performances, the Fund fills its coffers through bequests and contributions, special fund raising drives, and bazaars and auctions. For their 100th Anniversary in 1982, the Fund hosted a massive gala called the Night of 100 Stars to benefit the Extended Care Facility of the Actors' Fund Home. With a red carpet covering four blocks of Sixth Avenue and television coverage provided to more than 250 countries around the world, the event held at Radio City Music Hall was an extravaganza. Similar fund raising gala shows were held in 1985 and 1990.

Through its myriad services and programs, the Actors' Fund acts as a safety net for all professionals in the performing arts. In addition to offering emergency grants for essentials like food, rent, and medical care, the Fund provides a range of social services to its community, including senior and disability services, mental health and chemical dependency services, youth services, career counseling and housing advocacy. All areas of this relief have been marked by scrupulous concern for discretion and confidentiality for those individuals requiring help.

When the AIDS crisis hit in the mid-1980s, the Actors' Fund took responsibility for providing care for its constituents who were newly diagnosed, for those who were living and working with the disease, and for those who were already ill. In 1988, the Actors' Fund created the AIDS Initiative and helped found Broadway Cares. Today, Broadway Cares/Equity Fights AIDS remains the Fund's strongest partner in caring for people with this devastating disease and other health issues.

Broadway Cares/Equity Fights AIDS is not only a major donor to the AIDS Initiative, it is also one of the largest sources of financial support for some of the Fund's other programs, including the Actors Work Program, the Al Hirschfeld Free Health Clinic, and the Phyllis Newman Women's Health Initiative. In 1998, the Actors Work Program, originally founded by the Actors' Equity Association, came under the umbrella of the Actors' Fund; it provides services for the establishment of secondary careers for actors through job and skills training. The Actors' Fund runs the Al Hirschfeld Free Health Clinic in New York City that offers a range of urgent, primary, and specialty health care services for free to those who need it. To address the particular medical needs of women, the Fund created the Phyllis Newman Women's Health Initiative to provide guidance and counseling to women who have been diagnosed with a serious medial condition. The Initiative draws financial support in a variety of ways, from the Actors' Fund's annual Nothing Like a Dame event produced by staff from Broadway Cares/Equity Fights AIDS as well as from the Entertainment Industry Foundation Revlon Run/Walk for Women.

The administrative structure of the Actors' Fund since its founding has consisted of a President, Treasurer, Secretary, General Manager and Board of Trustees; this structure has remained virtually unchanged to the present. The Fund maintains regional offices in New York City, Chicago, and Los Angeles. Annual meetings are held every May. The Fund has had nine presidents, one of whom, Daniel Frohman, served the Fund for some 60 years, 40 of them as President (1904-1941). The work of Frohman and another long-serving president, Walter Vincent (served 1941-1959), is well represented in the archival collection.

Under the leadership of President Brian Stokes Mitchell and Executive Direct Joseph P. Benincasa the Actors' Fund continued and expanded its proud traditions of service to the theater community in the new millennium. In 2004, for example, the New York state legislature passed a pioneering bill that offers health insurance premium payment assistance to workers in the entertainment industry; this measure was the culmination of four years of intensive grassroots organizing and lobbying by the Fund. The Fund's "Looking Ahead" project, based in Los Angeles, was established in 2003 to provide special services to young performers and their families. Beginning in the mid-1990s, the Fund turned its attention to the needs for affordable and special needs housing. Since then the organization has acquired and renovated two residential buildings, the Aurora on 57th St. in New York City and the Palm View Residence in southern California, and constructed the Schermerhorn House in Brooklyn (opened in 2008). Between them, they provide more than 400 units of affordable housing, many of them designated for elderly or disabled tenants.

Note to the researcher: In 2007 the Actors Fund dropped the use of the apostrophe in its name. This guide has adhered to the older form, in accord with most documentation in the collection itself and with Library of Congress practice.

In May 2022, the Actors Fund changed its name to the Entertainment Community Fund to better represent all performing arts and entertainment professionals that they support.


Simon, Louis. A History of the Actors' Fund of America. New York: Theatre Arts Books, 1972.The Actors Fund. Curtain Call: 125 Amazing Years of the Actors Fund. Virginia Beach, VA: Donning Company Publishers, 2008.


Series are arranged alphabetically, except for Series II and Series V (subseries B and D), which are arranged chronologically, and Boxes 38 and 52, Unprocessed Material.

The Actors' Fund of America Records are organized into 11 series:

Missing Title

  1. I, Minutes, 1880-1991.
  2. II, Annual Reports, 1882-2000.
  3. III, General Files, 1881-2005.
  4. IV, Actors Work Program, 1986-1999.
  5. V, Fundraising Activities, 1886-2002.
  6. VI, Catholic Actors Guild Records, 1924-1980.
  7. VII, Family Papers, 1903-1974.
  8. VIII, Society of Stage Directors and Choreographers Records, 1959-1980.
  9. IX, Oversized Items, 1891-1965.
  10. X, Scrapbooks and Unprocessed Material, 1900-1973, 2000s.
  11. Series XI, Aldrich Family Papers, circa 1850-1940.
  12. Series XII, Archived Websites, 2007-ongoing

Scope and Contents

Series I: Minutes, 1880-1991, consists of the minutes of the Actors' Fund annual meetings from 1880-1991, nearly every year is represented. The minutes provide detailed information on the financials of the Actors' Fund, outlining funds coming from donations, bequests, benefits and other fund raising events. Also provided in the minutes is information about major activities of the fund pertaining to burials and the Actors' Fund Home. This series includes minutes of meetings of the Board of Trustees from 1887-2006, the Executive Committee from 1882-1894, and of the Directors of the Actors' Fund Home from 1957-1985.

Series II: Annual Reports, 1882-2012, consists of annual reports of the Actors' Fund from 1882-2012. The annual reports provide a general overview of activities, providing lists of officers and the Board of Trustees, life members, and physicians who were aiding the fund. Also included is the annual address from the acting President. Each annual report contains reports from standing committees and outlines major donations and sources of income for the year. (The reports from 1882-1975 are in bound volumes.)

Series III: General Files, 1881-2005, the general files are by no means the complete working files of the organization, but do represent the major personnel and activities of the Actors' Fund from its founding. Included are files on the Actors' Fund Home, on AIDS relief work and AIDS benefits, on establishing the monument at Kensico Cemetery, and on the Fund's Blood Banks and Blood Drives. The files contain correspondence on varied topics; of note are a telegram from then President Franklin D. Roosevelt and a note in support of the Fund from Thomas Edison. Also represented in the general files is material on particular individuals of prominence in the theatrical community and in the Fund's history and development, as well as financial material, press releases, clippings, souvenir programs and Playbills, and material on the Western Council, which supports the work of the Western regional office and programs based in Los Angeles.

Series IV: Actors Work Program, 1986-1999. Originally created by the Actors' Equity Association in 1986, the Actors Work Program seeks to establish secondary career work for actors by providing career counseling and skills training. This series consists of documentation of meetings of the project's board of directors, financial records, and materials related to Program's Regional Education Center.

Series V: Fundraising Activities, 1886-2002, consists of files relating to theater performances, fairs, auctions and bazaars, and "Bread Basket Campaigns," plus a number of benefits clippings scrapbooks. This lengthy series documents the planning and presentation of the Annual Benefit shows and Fairs beginning in 1886; in the 1960s the emphasis shifts toward Benefit Shows in the form of special performances of theater productions, with proceeds going to the Fund. Also documented in this series are the Fund's auctions and bazaars of the 1960s-1980s, as well as their summer and winter "Bread Basket Campaigns," whereby participating theaters around the country would make an announcement regarding the Actors' Fund and pass around baskets for donations from the audience.

Series VI: Catholic Actors Guild Records, 1924-1980, consists primarily of the files related to the Guild's annual dinner-dances. Also included in this series are the Guild's constitution and by-laws, Executive Board minutes and financial records. Several issues of Call Board, the Catholic Actors Guild's bi-monthly periodical, from 1964 to 1980, can also be found in this series.

Series VII: Rathbone Family Papers, 1903-1974, consists primarily of the papers of Basil Rathbone, a prominent theater actor during the first half of the twentieth-century and his wife, Ouida Rathbone nee Bergere, an actress and screenwriter. Included in this series is correspondence between Basil and Ouida and between Basil and their daughter, Cynthia; incoming correspondence from others, and communications between Ouida and her lawyer regarding the estate of her husband after his death in 1967. Also included are published and unpublished manuscript works of both Basil and Ouida, including Ouida's "Happy Weddings," a story about her marriage.

Series VIII: Society of Stage Directors and Choreographers Records, 1959-1980. The Society is an independent labor union for stage directors and choreographers; the records consist of minutes of Executive Board meetings, 1959-1973, information on membership and finances, and newsletters (1974-1980).

Series IX: Oversized Items, 1891-1965, consists of items of graphic interest that were removed from Actors' Fund scrapbooks after microfilming, as well as oversized items from the general collection. These items include clippings from publications around the country on the Actors' Fund Fairs of 1910 and 1917, as well as an edition of the Friars Epistle, which was published specifically for the 1917 Fair. There are two collages of newspaper clippings that depict the Actors' Fund founding in general and the founding of the Actors' Fund Home; these date from 1900 and 1902. Removed from microfilmed scrapbooks is graphic material related to the Fund's anniversary events, benefits, "Bread Basket Campaigns," and annual softball game. Additionally, there are souvenir programs from theater and Grand Opera productions dating from 1891.

Series X: Scrapbooks and Unprocessed Material, 1900-1973. Subseries A: Hardcopy Scrapbooks, consists of 14 hardcopy scrapbooks documenting a number of activities of the Actors' Fund. There are scrapbooks of clippings on the Fund generally and on benefit and special benefit performances. In addition, there are five volumes of theater programs and playbills unrelated to productions of the Actors' Fund; these scrapbooks are chronologically arranged from 1908-1933. There are four volumes of obituaries, documenting the deaths of members of the theater community from 1913-1933. Of special interest is the Louis Simon scrapbook, which includes original correspondence, programs, press clippings, and production photographs documenting Simon's theatre work, particularly his involvement in Works Progress Administration (WPA) Federal Theatre projects. Also of note is the scrapbook composer Ray O'Brien compiled of the USO tour of Olie Olsen and Chick Johnson's "Hellz-a-Poppin" Show, which toured army posts across the country during World War II. The cast included Milt Douglas, Jack Leornard, Ben Dova, the Emerald Sisters, the Three Grace Notes, Claire Louise Evans, Harry Hines, Joan Blondell, and Maxine Turner. Subseries B: Microfilmed Scrapbooks, 1900-1961, consists of an additional 15 Actors' Fund scrapbooks that have been microfilmed (on 4 reels, Tamiment microfilm call numbers R-7822/1-4). Through clippings from local publications from around the country, the microfilmed scrapbooks provide a rich source of historical information not only about the Actors' Fund but about the theatrical community at large. Their unique narrative of major events in the Fund's history includes documentation, mostly through newspaper clippings, of fundraising and major donations, the life of the Actors' Fund Home, and Daniel Frohman's long reign as president of the Fund. There are also cartoons, flyers, press releases, and telegrams. Included, and filmed in full, are sumptuously decorated Souvenir Programs of the Fund's annual benefit shows. Most of the material in this subseries was in extremely fragile and deteriorated condition and was discarded after filming. The original Souvenir Programs and other items of exceptional graphic interest or historical value have been preserved in Series III and V of the archival collection. Subseries C: Unprocessed materials include research materials for annual reports and about actor Edwin Forrest; programs for, and invitations to fundraising performances, annual galas, and other benefit events; souvenir programs and playbills; photographs (some from early 20th century), snapshots, hand-drawn cartoons of, and press clippings and scrapbook pages for Joe Smith and Charles Dale, the comedic vaudeville duo who were models for the Neil Simon play, The Sunshine Boys. DVDs document Actors Fund benefits and events from 2001-2013 that include performances or appearances by Jason Alexander; Alec Baldwin; Harry Belafonte; Annette Bening; Polly Bergen; Jed Bernstein; Matthew Broderick; Betty Buckley; Charles Busch; Liz Callaway; Mario Cantone; Bonnie Comley; John Cullum; Christine Ebersole; Eartha Kitt; Judy Kuhn; Rocco Landesman; Stewart F. Lane; Lorna Luft; Patti LuPone; Terrence Mann; Karen Mason; Kevin McCollum; Audra McDonald; Rebe McEntire; Anne Meara;Randie Levine Miller; Liza Minnelli; Brian Stokes Mitchell; Bebe Neuwirth; Al Pacino; Chita Rivera; Seth Rudetsky; Emily Skinner; David Steiner; Mike Stengel; Jerry Stiller; Elaine Stritch; Jonathan Tisch; and Nia Vardalos.

Series XI: Aldrich Family Papers, circa 1850-1940. This series pertains to Louis Aldrich's acting career and work with the Actors' Fund, though the majority of the material is related to Aldrich family history. The series contains seven scrapbooks of mostly news clippings and programs, two on the topic of Aldrich's acting career and work with the Actors' Fund, and the rest related to Aldrich and his family more generally. There are numerous photographs of Aldrich and his family members, some with annotations on the back identifying the individuals in the photos. The dancing career of Frances Aldrich is particularly well represented in these photographs.


Conditions Governing Access

Materials are open without restrictions.

Conditions Governing Use

Copyright (or related rights to publicity and privacy) for materials in this collection, created by the Actors' Fund of America was not transferred to New York University. Permission to use materials must be secured from the copyright holder.

Preferred Citation

Identification of item, date; Actors' Fund of America Records; WAG 036; Box number; Folder number; Tamiment Library/Robert F. Wagner Labor Archives, New York University.

To cite the archived website in this collection: Identification of item, date; ctors' Fund of America Records; WAG 036; Wayback URL; Tamiment Library/Robert F. Wagner Labor Archives, New York University.

Location of Materials

Some materials are stored offsite and advance notice is required for use. Please request materials at least two business days prior to your research visit to coordinate access.

Immediate Source of Acquisition

The collection was intially donated by the Actors' Fund in 1985. The accession number associated with this gift is 1985.019. Several more donations followed beween 1985 and 2007.

An additional donation of the materials that comprise Series XI was made by David Engelman on behalf of the Actors' Fund in 2014. The accession number associated with this donation is 2014.014. Materials relating to Fundraising Updates from 2002 were found in repository in May 2014. The accession number associated with this material is 2014.059. An additional donation of materials was made by Mr. Engelman on behalf of the Actors' fund in November 2014. The accession number associated with this donation is 2014.176. Tamiment received an additional donation of board minutes and other documents related to the Actors' Home and fund raising campaigns in 2015. The accession number associated with this gift is 2015.024. An additional donation of materials was made by Mr. Engelman on behalf of the Actors' fund in July 2017. The accession number associated with this donation is 2019.059. was initially selected by curators and captured through the use of The California Digital Library's Web Archiving Service in 2007 as part of the Labor Unions and Organizations (U.S.) Web Archive. was added in 2013. n 2015, this website was migrated to Archive-It. Archive-It uses web crawling technology to capture websites at a scheduled time and displays only an archived copy, from the resulting WARC file, of the website. In 2019, was added. The accession number associated with this website is 2019.134. In May 2022,,, and were added due to the name change of the Actors Fund to the Entertainment Community Fund. The accession number associated with these websites is 2022.061

In March 2022, a network transfer of pdf reports was transferred by Maggie Oberrender; the accession number associated with this gift is 2023.038.

Audiovisual Access Policies and Procedures

Audiovisual materials have not been preserved and may not be available to researchers. Materials not yet digitized will need to have access copies made before they can be used. To request an access copy, or if you are unsure if an item has been digitized, please contact, (212) 998-2630 with the collection name, collection number, and a description of the item(s) requested. A staff member will respond to you with further information.

Physical Characteristics and Technical Requirements

Due to the fragile nature of the fifteen scrapbooks covering the years 1900-1961, researchers must use the microfilmed version; microfilm call number is Film R-7822.

Born-Digital Access Policies and Procedures

Advance notice is required for the use of computer records. Original physical digital media is restricted. An access terminal for some born-digital materials in the collection is available by appointment for reading room viewing and listening only. Researchers may view an item's original container and/or carrier, but the physical carriers themselves are not available for use because of preservation concerns. Other born-digital materials have not been transferred and may not be available to researchers.


Books from the 2014 donation already held by the Tamiment Library were not retained.

Take Down Policy

Archived websites are made accessible for purposes of education and research. NYU Libraries have given attribution to rights holders when possible; however, due to the nature of archival collections, we are not always able to identify this information.

If you hold the rights to materials in our archived websites that are unattributed, please let us know so that we may maintain accurate information about these materials.

If you are a rights holder and are concerned that you have found material on this website for which you have not granted permission (or is not covered by a copyright exception under US copyright laws), you may request the removal of the material from our site by submitting a notice, with the elements described below, to the

Please include the following in your notice: Identification of the material that you believe to be infringing and information sufficient to permit us to locate the material; your contact information, such as an address, telephone number, and email address; a statement that you are the owner, or authorized to act on behalf of the owner, of an exclusive right that is allegedly infringed and that you have a good-faith belief that use of the material in the manner complained of is not authorized by the copyright owner, its agent, or the law; a statement that the information in the notification is accurate and made under penalty of perjury; and your physical or electronic signature. Upon receiving a notice that includes the details listed above, we will remove the allegedly infringing material from public view while we assess the issues identified in your notice.

Related Material at the Tamiment Library/Robert F. Wagner Labor Archives

Actors' Fund Photographs (PHOTOS 240)
Actors' Equity Association Records (WAG 11)
Associated Actors and Artistes of America Records (WAG 110)
Theater Authority Records (WAG 183)

Collection processed by

Craig Savino, 2006-2008 and Adrien Hilton, 2009; Series XI added by Giana Ricci and Rachel Schimke.

About this Guide

This finding aid was produced using ArchivesSpace on 2023-08-20 16:49:15 -0400.
Using Describing Archives: A Content Standard
Language: Finding aid is in English

Processing Information

The materials that comprise Series XI were added in 2014. The materials were treated for mold and rehoused in archival quality boxes and folders. Also in 2014, the archived websites were added as Series XII. In 2015, additional board minutes were added to Series I: Minutes, and documents related to the Actors' Home and fundraising campaign materials were added to Series III: General. In 2019, additional websites were added to the finding aid. In 2022, information about the organization's name change was added to the finding aid as well as additional websites reflecting the name change.

In April 2023, a network transfer of electronic reports were intellectually incorporated into Series III. New York University Libraries follow professional standards and best practices when imaging, ingesting, and processing born-digital material in order to maintain the integrity and authenticity of the content.

Revisions to this Guide

April 2019: Record updated by Rachel Searcy to reflect 2017 accretion
July 2022: Edited by Nicole Greenhouse for additional administration information and the incorporation of archived websites
April 2023: Record updated by Rachel Searcy to reflect 2023 accretion

Edition of this Guide

Actors' Fund, Wag 36.doc


Tamiment Library and Robert F. Wagner Labor Archives
Tamiment Library and Robert F. Wagner Labor Archives
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