The Artist

In the autumn of 1889, at the Caucasus Exhibition in Tiflis (now Tbilisi), a bronze medal “for a saddle and saddle straps” went to Matvey Kalaushin [◆ S036, no. 305, 17.11.1889, p. 2]. The award list does not name his stanitsa (Cossack village), but △ he was almost certainly Matvey Alekseyevich Kalaushin [S001, No. 71], a twenty-two-year-old Cossack of Batalpashinskaya from a family of saddlers: the surname is rare, and in 1896, at the All-Russian Exhibition in Nizhny Novgorod, he was honoured again, with an honourable mention for leather goods [◆ S044, no. 1, pp. 33, 36].

Leningrad and Mikhailovskoye

Boris was born in Leningrad on 6 August 1929 [◈ S001, No. 213; ◈ S005]. His father, the son of the Labinskaya saddler, worked from 1931 at Pushkin House — the Institute of Literature of the Academy of Sciences — where he headed the Literary Museum and, on the institute’s behalf, oversaw the Pushkin Reserve at Mikhailovskoye; in 1949 he opened the All-Union Pushkin Museum in the Alexander Palace at Pushkin, and when in 1953 the museum was separated from Pushkin House as an institution in its own right, he became its first director, serving until 1965 [◈ S004; ◈ S086, no. 19, p. 196; ◈ S086, no. 26, p. 36; ◈ S086, no. 102, p. 61; ◈ S150]. His mother, Emiliya Fyodorovna (née Chirskova) [◈ S001, No. 127], had studied at a music college under the well-known musician Sergey Alpers, a friend of Sergey Prokofiev. Artists, writers, musicians and philologists came to the house, and it was in this circle, the staff of the All-Russian Pushkin Museum write, that the future artist was formed [◈ S163].

Note on the roster. The roster gives 1947 as the year of Emiliya Fyodorovna’s death. Letters show that she was alive in May 1955 and on 30 December 1968, when she wrote to Yu.G. Oksman [◆ S086, no. 51, p. 185; ◆ S028, f. 2567, op. 1, ed. khr. 541]; the roster itself repeatedly cites her recollections.

In the summer of 1935 Radlov, N.K. Shvede-Radlova and Khizhinsky were indeed working in the Reserve, and on 29 and 30 August the district saw its first exhibition of the pictures on Pushkin themes they had painted there that summer; in 1936 paintings by Shvede-Radlova and watercolours by Khizhinsky were bought and commissioned for the Reserve’s museum. Matvey Matveyevich himself wrote about this [◆ S071, p. 392]. Boris turned six that summer. His father knew many artists, Radlov and Khizhinsky among them, and more than once drew them into museum work [◈ S004].

The Siege booklets

The family spent the first years of the war in besieged Leningrad [◈ S163]. In the Siege winter of 1941–42 Matvey Matveyevich, head of the Pushkin House museum, served as the institute’s commandant; in July 1942 he was sent to Tashkent, escorting a train with the most valuable museum material [◈ S129]. Boris, too, was evacuated to Tashkent [◈ S115].

Between the ages of twelve and fourteen, first in the besieged city and then in Tashkent, the boy made more than a hundred and fifty hand-written booklets, in most of which he was at once author, illustrator and “publisher” [◈ S163; ◈ S115]. He invented “publishing houses” and series for them — “Literature and Children”, “The Green Lamp Library”, “Around the World”, “Tiny Books” — numbered the issues and volumes, and gave a place of publication: Leningrad, the North Caucasus, Tashkent. The art historian Nikolay Kononikhin, who saw the booklets, was struck above all by how finished they were, nothing like a child’s work; among the fairy tales and stories he singled out The Rotten Drum. New Futurists, No. 34 of the “Tiny Books Library”, 1945, with a Futurist drawing on the cover [◈ S115]. The cover of one of the early booklets, Two Notebooks from “The Green Lamp Library”, carries the imprint “Literature and Children”, MCMXLI, and the author’s name “Shan-Tyul” [◈ S142, p. 30, fig. 3]. Boris Matveyevich later said of the booklets that “for me it was an absorbing game” [◈ S001, No. 213; ◈ S115].

The Kalaushins’ home held lithographed books by the Russian Futurists, with drawings by Goncharova, Larionov, Burliuk and Malevich [◈ S115]. Recalling the Siege winter, Boris Matveyevich said that everything went into the little stove — books, journals, some of the furniture — but never the lithographed drawings of Larionov, Malevich and the Burliuks, nor the Futurists’ treatises and poems [◈ S122]. Half a century later he wrote that the Futurists’ hand-made books “radiated a wondrous energy that did not let us die” [◈ S121, quoting B. Kalaushin, “Frantsuzskaya kniga”, in Boris Kalaushin (1929–1999): booklet, St Petersburg: Apollon, 1999, pp. 9–10].

Copies of Boris’s home-made booklets from the Siege and the evacuation were given by his sister to the People’s Museum “And the Muses Were Not Silent…” at St Petersburg School No. 235 [◈ S142, pp. 29–30]; △ the originals appear to remain in the family.

Mikhailovskoye, 1945

In April 1945 Semyon Geychenko became director of the Pushkin Reserve; no one, he recalled, had argued harder for sending him there than Matvey Matveyevich [◈ S100, p. 176]. On the morning of 12 April Geychenko set out for Pskov with L.N. Nazarova of Pushkin House and the fifteen-year-old Boris, who was travelling “to sketch the ruined Pushkin monuments”. Every station along the line had been destroyed; the train took more than two days and reached Pskov late in the evening of 14 April [◈ S100, pp. 178–179]. The Reserve’s newspaper tells the story of that spring a little differently: Matvey Matveyevich came to Geychenko with his son, a budding artist, who was given the task of recording the post-war state of Petrovskoye, the Hannibal family estate [◈ S087, no. 3 (22), 2017, p. 6]. △ These may have been two separate journeys.

On 16 May 1945, at Geychenko’s request, Boris drew a rough plan of the park at Petrovskoye and marked on it the German fortifications of 1943–44: a minefield, dugouts, trenches, shell craters, destroyed trees. In a note he recorded that the orchard belonged to the Petrovskoye agricultural co-operative and the park to the Reserve. The plan is kept in the Reserve’s archive [◈ S086, no. 83, p. 177, n. 2]. Boris made a second version, in colour, in 1946, marking the foundations of the Hannibal house and the buildings that had been destroyed [◈ S087, no. 3 (22), 2017, p. 6]. His father, too, drew plans of the German fortifications in the village of Savkino and in the centre of Mikhailovskoye “while the traces were still fresh” [◈ S086, no. 64, p. 33]. △ It is possible that one of the two publications has confused the initials of father and son; the Reserve’s archive may settle the question.

The pencil drawing Nanny’s Cottage (Domik nyani), signed “BKalaushin 45”, dates from the same year; in 2015 the Reserve’s newspaper printed it for the 70th anniversary of Victory [◆ S087, no. 2 (13), 2015, p. 3]. The cottage itself no longer existed: on the site of the destroyed building the Germans had dug trenches and dugouts. Reconstruction began on 7 October 1945; in the autumn of 1946 the first log frame had to be taken down, and the exhibition in the new cottage opened on 6 June 1947. In the spring of that year Geychenko, together with Matvey Matveyevich as head of the Literary Museum of the Institute of Literature, had submitted its outline for approval [◈ S086, no. 68, pp. 31–34]. The newspaper does not say where the original drawing is kept.

In 1946 Boris was working in the Reserve again. His name also found its way into a report on the shortcomings of the Reserve, compiled in December 1946 by N.I. Aksenov, the assistant director for administration, who complained of public money spent on “drawings of scientific content” made by “our own people” coming from Leningrad on holiday — among them “Kalaushin, son of the director of the museum of the Institute of Literature” (see “Documents” at the end of this chapter) [◆ S025, ff. 46–51, publ. in S086, no. 96, p. 155]. His drawing Mikhailovskoye. View of the Estate. 1950 is in the Reserve’s collection; in 2022 it became the cover of Mikhailovskaya Pushkiniana 89, “The Pushkin Reserve in the 20th Century” [◈ S086, no. 89, 2022, imprint].

The Academy

Boris had been learning to draw since before the war: he attended the Secondary Art School of the Academy of Arts in 1939–1941 and 1944–1949 (from 1940, according to the roster) [◈ S005; ◈ S001, No. 213]. From 1950 to 1956 he studied in the graphic arts faculty of the Repin Institute of Painting, Sculpture and Architecture under M.G. Platunov, S.V. Priselkov and M.A. Taranov [◈ S001, No. 213; ◈ S204, “Kalaushin B.M.”; ◈ S163]. His diploma work — the design and illustrations for Yury Olesha’s Three Fat Men — was graded “excellent” [◈ S001, No. 213]. In June 1956 the Union of Artists opened a personal file on the young graphic artist [◆ S028, f. 2940, op. 7, ed. khr. 653]; he became a member of the Union of Artists of the USSR that year [◈ S001, No. 213].

He married while still a student. On 3 January 1952 the Peterhof historian N.I. Arkhipov wrote to Semyon Geychenko that he had been at Matvey Matveyevich’s on New Year’s Day, and that the evening before they had been “celebrating Boris’s wedding”: the father, Arkhipov added, had been stubborn at first, but “the children” had got their way [◆ S086, no. 51, p. 182]. The letter does not name the bride. The family website about the artist names his wife as Tamara Georgiyevna Kalaushina (d. 2004); the roster records a wife, Elionora (1931–1995), and a son, Sergey [◈ S005; ◈ S001, No. 213]. △ The two dates of death (1995 and 2004) do not contradict each other: Boris Matveyevich may have been married twice.

A hundred children’s books

For decades the children’s book was his main work. The first books with his drawings came out in 1956, among them Vitaly Gubarev’s fairy-tale novella The Kingdom of Crooked Mirrors (Moscow: Molodaya Gvardiya) and Andersen’s tales The Emperor’s New Clothes (Leningrad: Detgiz) [◈ S178, 07NLR_LMS007917448; ◈ S178, 07NLR_LMS007908826]. Then came Nina Gernet and Grigory Yagdfeld’s Katya and the Crocodile (1957), Beatrix Potter’s Ukhti-Tukhti in O. Obraztsova’s translation (1958), and in 1959 Three Fat Men — the very novel he had designed for his diploma [◈ S178, 07NLR_LMS008290344; ◈ S178, 07NLR_LMS008710822; ◈ S178, 07NLR_LMS008992181]. A letter from Boris Matveyevich to O.A. Obraztsova, now in S.V. Obraztsov’s papers, is dated the summer of 1958 [◆ S028, f. 2732, op. 1, ed. khr. 1485]; △ its addressee was probably the translator of Ukhti-Tukhti.

While still a student, in 1954, he made designs for Leo Tolstoy’s story The Two Mice: a cover mock-up, a title page and scenes — the town mouse going to visit the plain mouse, the field mouse inviting her guest to the table. Nine sheets are held by the State Leo Tolstoy Museum; the title page is hand-lettered “Detgiz / Leningrad / 1954”. The museum showed them in exhibitions on Tolstoy’s ABC and his teaching in 2023–2024 [◈ S165, GMT KP-18030/1–9; ◈ S167]. From the same year comes a design for a headpiece to Chekhov’s story The Bride, now in the Taganrog museum-reserve [◈ S165, TMCh KP-11874].

In his early work, his biographers note, the influence of his predecessors can still be seen, but he soon found a “decorative” style of his own [◈ S005]. Books with his illustrations were published not only in Russia but in Lithuania, Georgia, Germany, Romania and Japan [◈ S005]; in English, Olesha’s Three Fat Men (Foreign Languages Publishing House, Moscow) and Nosov’s Dunno stories (Raduga) appeared with his illustrations [◈ S178; ◈ S149]. The catalogue of the National Library of Russia lists almost a hundred editions with his drawings published in his lifetime, under some seventy different titles — among them Ivan Demyanov’s A Book for Little Ones (Rebyatishkina knizhka, 1964), Emma Moshkovskaya’s A Hundred Children — A Kindergarten and A.A. Milne’s Once I Was in a House (Ya byl odnazhdy v dome, 1987); the St Petersburg publisher Rech is still reissuing his books in 2026 [◈ S178].

He also drew filmstrips: A Visit to the Clown after Zoshchenko (1967), The Very First King, The War of the Crocodiles (1985) and others; in the online filmstrip archive of the Russian State Children’s Library, 21 records are linked to his name [◈ S173]. Sixty-five sheets of frame designs for two filmstrips — The Story of the Elephant, the Bonfire and the White Duckling after Donald Bisset (1982) and Merry Adventures, Not Only for Fun to verses by Ya. Kozlovsky (1987) — are held by the Film Museum [◈ S165, GTsMK KP-14164, KP-14155].

Painting

He also painted for himself — semi-abstract portraits of women and landscapes, which were not shown at exhibitions before 1987 [◈ S204, “Kalaushin B.M.”]. According to Kononikhin, from the late 1950s Boris’s former fellow students from the Academy — artists and art historians — would gather around the Futurist books in Matvey Matveyevich’s library and around Western books on Picasso and the Russian avant-garde; during the Thaw, Kalaushin and a few companions spoke out at the Union of Artists for creative freedom and for opening the museum storerooms that held Kandinsky, Malevich and Filonov. When the Thaw ended, he followed the advice of the artist N. Altman — to show one’s work not at exhibitions but to a friend one trusts — and for many years stopped exhibiting his painting [◈ S115].

By the mid-1960s he had found a language of his own. In 1966 came the series Hieroglyph of a Woman; in 1967, A Woman’s Head, which began the series Lit by the Sun: a sign, a “hieroglyph”, set against bands of bright, unmixed colour [◈ S115]. The painting Lit by the Sun (1966–1968) is in the Museum of Fine Arts of the Republic of Karelia; the museum record describes an abstract composition of bright geometric elements across which a woman’s face is drawn in black strokes [◈ S165, KMII KP-13293]. The art historian Lev Mochalov called Kalaushin “an aesthetic romantic, perhaps even an aesthetic hedonist”, and observed that even when “everything was allowed” he did not turn to pure abstraction: nature in his canvases “always shows through, can always be sensed” [◈ S121]; L.I. Novozhilova saw in his vertical colour constructions the order of St Petersburg itself — its embankments, straight avenues and canals [◈ S122].

His painting was first shown in 1987, at the exhibition Painting by Leningrad Graphic Artists in the “Hall on the Okhta”. He had solo exhibitions in 1972, 1975, 1990, 1991, 1997 and 1998 [◈ S005]; △ those of the 1970s were, it seems, of his graphic work. In 1987 and 1992 he took part in large exhibitions at the Manege [◈ S005].

Apollon

In the 1990s Boris Matveyevich and his sister, Yuliya Matveyevna Firtich, founded the Apollon Society of Lovers of Music and Art, and with Ye. Kovtun, A. Povelikhina, B. Solovyov, Yu. Firtich and G. Chugunov he set up a publishing house of the same name to issue studies of the history of the Russian avant-garde without censorship. The artists P. Kondratyev and V. Volkov were made honorary members of the society posthumously; between 1992 and 1999 Apollon held ten exhibitions and three conferences [◈ S115]. The society’s second exhibition, in 1993, took place at the Pushkin museum on the Moika, 12 — the very museum whose first director his father had been [◈ S005]. In 1996, on his initiative, the Apollon gallery opened at 13 Millionnaya Street and ran until early 2000 (the All-Russian Pushkin Museum dates his initiative to 1992 [◈ S163]); the city encyclopedia counts eight solo and ten group exhibitions, among them Futurist Drawings (1997) and Sources and Roots — the Russian Avant-Garde of the 20th Century (1998, 1999) [◈ S204, “Apollon (gallery)”]. In 1997–1999 he organised four international conferences, Sources and Roots: From the History of the Russian Avant-Garde of the 20th Century [◈ S005].

His principal work was the series of books in the Apollon almanac: two volumes on Nikolay Kulbin, Search (1994) and Documents (1995), each of about five hundred pages, and the eight-hundred-page Burliuk, Colour and Rhyme. Book 1: The Father of Russian Futurism (1995 or 1996) [◈ S178; ◈ S177]. When the publishing house’s sponsor ran into financial difficulties, he paid for the Kulbin volumes himself [◈ S115]. As early as 1980 he had persuaded an English student, Jeremy Howard, to write a book on the Union of Youth group, and for eight years he corresponded with him — gathering material, writing short chapters and posting them to England [◈ S115]. Kononikhin called his essay about him “A Devotee of the Russian Avant-Garde” [◈ S115].

From 1980 to the end of his life Boris Matveyevich chaired, without interruption, the Commission for the Protection of Monuments of Architecture, History and Culture of the Leningrad branch of the Union of Artists [◈ S005]. As the roster records, it was thanks to him that new life was given to the Nicholas Roerich House-Museum at Izvara, the Church of the Saviour Not Made by Hands on Konyushennaya Square, the Lutheran church of St Peter and St Paul on Nevsky Prospekt, the Vyazemsky estate, and the Benois house and its wing [◈ S001, No. 213].

His sister, the composer and the nephew

Yuliya Matveyevna Firtich (née Kalaushina) [S001, No. 214], the artist’s younger sister, founded the Apollon society with her brother and was among the founders of the Apollon publishing house [◈ S115]. She edited the website about her brother (2009) [◈ S005], compiled with him the collection Kotenka-kotok: Grandmother’s Songs, published with his drawings in 2011 [◈ S168; ◈ S188, “Kalaushin, Boris Matveyevich”, bibliography], and gave copies of his Siege booklets to the school museum [◈ S142, pp. 29–30].

Through Yuliya Matveyevna the composer Georgy Ivanovich Firtich (1938–2016) became part of the family [◈ S001, No. 214]. A jazz pianist and professor at the Herzen State Pedagogical University of Russia, he was named Honoured Art Worker of the Russian Federation in 1992 and wrote the music for David Cherkassky’s animated films The Adventures of Captain Vrungel and Doctor Aybolit; his symphonic works include the poem Memories of Mikhailovskoye (1999) [◈ S188, “Firtich, Georgy Ivanovich”].

Matvey Matveyevich’s grandson, Nikolay Georgiyevich Firtich, wrote a biographical essay about his grandfather for the 2005 exhibition at Mikhailovskoye [◈ S004]. A 1980 portrait of Boris Kalaushin on the family website is captioned as the work of the artist Nikolay Firtich [◈ S005], and an N. Firtich is also listed among the artists of the Apollon gallery [◈ S204, “Apollon (gallery)”]. △ They are probably one and the same.

Keeper of the family’s stories

Some of the stories of the family’s early history were written down in the roster from Boris Matveyevich’s words — and he, in turn, had heard them from his father.

The last years

Boris Matveyevich died on 10 June 1999 [◈ S005]. ◇ As the roster records, he did not quite live to see his seventieth birthday or a planned solo exhibition; the last chapter of his monograph on Burliuk remained unfinished, and a hundred canvases, prepared and ready for work, were left behind [◇ S001, No. 213].

He is buried in the Kuzmolovo cemetery outside St Petersburg [◈ S204, “Kalaushin B.M.”]. Apollon’s tenth group exhibition, in 1999, was dedicated to his memory [◈ S204, “Apollon (gallery)”]. Exhibitions followed at the Union of Artists (December 1999), at the Manege (2000, 2001), at the Apollon gallery (2001, 2007), at the Museum of the Petersburg Avant-Garde in the Matyushin House (2008, The Living Organics of Form) and in the United States (November 2008) [◈ S005; ◈ S101; ◈ S001, No. 213]. From 17 September to 17 October 2015 the Green Hall of the All-Russian Pushkin Museum on the Moika, 12, showed Boris Kalaushin. From the Academy to Abstraction. Graphic Art and Painting of the 1950s–1970s: early works inspired by the landscape of the Pushkin Reserve, illustrations to Vsevolod Rozhdestvensky’s book Reading Pushkin (1962), and paintings, many of them exhibited for the first time [◈ S163].

Works in museums

Museum records name Boris Kalaushin as the artist of the following originals [◈ S165; ◈ S171; ◈ S167; ◈ S166]:

• State Russian Museum — The Flower Fairy, 1968, oil on canvas, 100×75 cm (GRM KP-180715, ZhS-1382).
• Museum of Fine Arts of the Republic of Karelia, Petrozavodsk — 20 works of 1966–1998: 11 paintings and 9 works on paper (KMII KP-13293…13305, 13316…13322), among them Lit by the Sun and Landscape, from the series “Dacha Cottages” (1998). The museum itself calls Kalaushin’s works the pride of its collection for that period [◈ S171].
• Museum of the Art of St Petersburg, 20th–21st Centuries (the former collection of the Manege Central Exhibition Hall) — 12 works of 1965–1996 (TsVZM 1606–1617), among them Portrait of Tamara (1970), Winter (1966) and Moist Earth (1996).
• Yaroslavl Art Museum — 9 drawings and lithographs of 1986–1991 (YaKhM-53292…53295, 55397…55401).
• State Leo Tolstoy Museum — 9 designs for The Two Mice, 1954 (GMT KP-18030/1–9).
• State Central Film Museum — 65 sheets of frame designs for two filmstrips, 1982 and 1987 (GTsMK KP-14164/1–31, KP-14155/1–34); the first sheet of each series is a printed title card.
• Tsarskoye Selo Collection museum, Pushkin — Autumn Landscape, from the series “Sister Earth” (1967) and Landscape. Dacha Cottage (1979) (GMTsK KP 1540, 1541).
• Pushkin Reserve, Mikhailovskoye — the drawing Mikhailovskoye. View of the Estate. 1950 (PZ-KP-415, G-190).
• Taganrog museum-reserve — design for a headpiece to Chekhov’s The Bride, 1954 (TMCh KP-11874).

Filmstrips and books illustrated or designed by him are also held in museums on Sakhalin, in the Krasnoyarsk region, in Moscow, Pskov and Pushkin [◈ S165]. Museums also keep things about the man himself: a caricature by N.E. Muratov, Kalaushin Boris Matveyevich (1964), in the Museum of the Defence and Siege of Leningrad; a portrait by A.Z. Davydov (1986) in the Pskov museum-reserve, where he is described as “the son of the founder of the All-Russian Pushkin Museum”; and two bookplates by V.V. Tambovtsev — “Bookplate of B. Kalaushin” and “From the Books of the Kalaushins” — in the Irbit State Museum of Fine Arts [◈ S165, GMMOBL KP 8108; MZI 1640/16; IGMII KP 6592, 6593]. Boris Matveyevich and Tambovtsev also worked together: in 1980 he and S. Zhavoronkova compiled the catalogue of Tambovtsev’s exhibition, and he wrote its introduction [◈ S178, 07NLR_LMS006409219].

The family biography of the artist also lists among the collections holding his work the Tretyakov Gallery, the Museum of the Academy of Arts, the All-Russian Pushkin Museum, the State Literary Museum, the Andersen Museum in Copenhagen, the Stedelijk Museum in Amsterdam, and the private collections of H. Neuhoff (USA) and J. Howard (UK) [◈ S005; ◈ S001, No. 213]; the All-Russian Pushkin Museum also names the Tretyakov Gallery and the Museum of the Academy of Arts [◈ S163]. We have not yet come across their records: only about forty per cent of the State Catalogue of the Museum Fund has been searched so far. In 2019 the State Literary Museum showed his illustrations to Three Fat Men at an exhibition about Yury Olesha [◈ S166].

Where the documents and works may be found

• RGALI: f. 2940, op. 7, ed. khr. 653 — B.M. Kalaushin’s personal file in the Union of Artists of the RSFSR (June 1956, 38 ff.); f. 2732, op. 1, ed. khr. 1485 — his letter to O.A. Obraztsova (4 July 1958).
• Archive of the Pushkin Reserve: PZ-KP-250 — plan of the Petrovskoye park (16 May 1945); its colour version of 1946 should be sought there too, and the Reserve asked where the drawing Nanny’s Cottage (1945) is kept.
• ODNILS GAPO (Pskov): f. 1219, op. 1, d. 352 — papers on the Reserve’s work in 1946.
• People’s Museum “And the Muses Were Not Silent…” (School No. 235, St Petersburg) — copies of the Siege booklets; O.G. Prutt’s article “Bukovki i bukvitsy Borisa Kalaushina” (Bibliofily Rossii, vol. 10, Moscow, 2013, pp. 499–524).
• The State Catalogue of the Museum Fund of Russia — the part not yet searched (records entered after 2019); enquiries to the Tretyakov Gallery, the Museum of the Academy of Arts, the All-Russian Pushkin Museum (including the 2015 exhibition) and the State Literary Museum.
• The book Boris Kalaushin (St Petersburg, 2001) and the booklet Boris Kalaushin (1929–1999) (St Petersburg: Apollon, 1999).

Documents

Translated from the Russian.

1946. “…scientific work, which takes various forms: photography, exhibitions, drawings of scientific content… A considerable part of the work is done by our own people who come from Leningrad on holiday: …Kalaushin, son of the director of the museum of the Institute of Literature…” — From a report on the shortcomings of the Pushkin Reserve compiled by N.I. Aksenov, assistant director for administration, December 1946 [◆ S025, ff. 46–51; publ.: S086, no. 96, p. 155]

1956. “Kalaushin Boris Matveyevich, born 1929, graphic artist.” — Title of the personal file in the inventory of the Union of Artists of the RSFSR records, 7–10 June 1956 [◆ S028, f. 2940, op. 7, ed. khr. 653]

1991. “B. Kalaushin. Lik II. 1991. Col. lith.” — The artist’s pencil inscription on the back of the lithograph Lik II (Face II) [◈ S165, Yaroslavl Art Museum, YaKhM-55397]

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