{"value"=>"<p><span class=\"persname\">Lucia Chase's</span> personal financial papers contain detailed information on her many investments as well as more minor household bills and receipts.</p> <p>The business correspondence constitutes the largest subseries (ca. 600 items). It is arranged alphabetically and includes letters to <span class=\"persname\">Lucia</span> from <span class=\"persname\">Irina Baronova</span>, <span class=\"persname\">Mikhail Baryshnikov</span>, <span class=\"persname\">Agnes de Mille</span>, <span class=\"persname\">Anton Dolin</span>, <span class=\"persname\">Cynthia Gregory</span>, <span class=\"persname\">Doris Humphrey</span>, <span class=\"persname\">Michael Kidd</span>, <span class=\"persname\">Lincoln Kirstein</span>, <span class=\"persname\">Hugh Laing</span>, <span class=\"persname\">José Limón</span>, <span class=\"persname\">Oliver Smith</span>, <span class=\"persname\">Antony Tudor</span>, and <span class=\"persname\">E. Virginia Williams</span> among others. The correspondence from <span class=\"persname\">Charles Payne</span>, a member of the company's Board of Directors, and <span class=\"persname\">Peter Lawrence</span>, an executive manager of the company during the 1940s, is quite extensive.</p> <p>In addition, this series includes ninety items of business correspondence not written by or to <span class=\"persname\">Lucia Chase</span>, as well as documents relating to various aspects of the operation of the Ballet Theatre Foundation, miscellaneous promotional and production information, scenarios, itineraries, and financial records. The latter document both <span class=\"persname\">Lucia Chase's</span> part in supporting the company, as well as more general company payrolls, proposals, budgets, and statements.</p>"}