| Mark Evans, Clare Richardson and Nicola Costaras, A recently discovered oil-sketch by John Constable at the Victoria and Albert Museum, in Burlington Magazine, 155, 2013 pp. 823-826
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| Peter Harrap and Shan Lancaster, John Constable's house in Brighton, in Burlington Magazine, 155, 2013 pp. 250-251
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| Philip McEvansoneya, John Constable and the Royal Hibernian Academy in 1834, with an unpublished letter to Martin Cregan, in Burlington Magazine, 149, 2007 pp. 685-689
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| Jennifer A. Thompson, A rediscovered oil-sketch by John Constable, in Burlington Magazine, 147, 2005 pp. 608-612
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| F.G. Notehelfer, Constable and the 'Woodbridge Wits', in Burlington Magazine, 141, 1999 pp. 531-536
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| Joel Isaacson, Constable, Duranty, Mallarmé, Impressionism, Plein Air, and Forgetting, in Art Bulletin, 76, 1994 pp. 427-450
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Louis Hawes, Constable's Hadleigh Castle and British Romantic Ruin Painting, in Art Bulletin, 65, 1983 pp. 455-470
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| Paul D. Schweizer, John Constable, Rainbow Science, and English Color Theory, in Art Bulletin, 64, 1982 pp. 424-445
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| Mark L. Reed, Constable, Wordsworth, and Beaumont: A New Constable Letter in Evidence, in Art Bulletin, 64, 1982 pp. 481-483
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| Paul D. Schweizer, John Constable and the Anglican Church Establishment, in Artibus et Historiae, 5, 1982 pp. 125-139
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| Charles S. Rhyne, Constable Drawings and Watercolors in the Collections of Mr. and Mrs. Paul Mellon and the Yale Center for British Art: Part I. Authentic Works, in Master Drawings, 19, 1981 pp. 123-145, 189-205
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| Shelley M. Bennett, Some Unpublished Landscapes by Thomas Stothard and Their Influence on John Constable, in Master Drawings, 17, 1979 pp. 273-330
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| David Brown, A New Drawing by John Constable, in Master Drawings, 17, 1979 pp. 278-331
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