This pencil sketch of the west end of East Bergholt Church, the uncompleted and part ruined west end tower, is believed to have been shown at the Royal Academy in 1818, where it was  hung in the Antique Academy, the gallery reserved for miniatures, watercolours and drawings.

The inscription on the reverse reads (not in the artists hand) ‘East Bergholt Church. With the tombs of Golding and Ann Constable, parents of J. Constable by whom this was drawn Oct 28, 1818.

Willy Lotts' House with the boathouse on the Stour.

A pen and grey ink with grey wash study for the painting ‘The Leaping Horse’, a stream with a lock to the right, a horse ridden by a boy tows two barges.

View of Bridge Cottage with figures on Flatford Bridge.

A pencil, pen and bistre ink and grey wash on laid paper

Cottages and a Windmill, with cottage centre under a clump of trees and a view over the flat fields beyond with a windmill on the left in the distance. Outbuildings in the right foreground and overhanging trees.

This sketch of pen and brown ink and watercolour with graphite, has been exhibited only twice in the last few years (1976 Feb-May Tate, ‘Constable’ no 288 & 2014 Jan-March, Petworth House, Constable at Petworth)

River scene with figures and a boat, trees and a cottage.

Inscribed in ink on the reverse in what is thought to be Isabel Constable's hand, over a half-erased ink inscription: ‘Dec. 27.41 (?) The erased part has been read as ‘the Farm)

Outside the White Horse Inn, located on the old heath at Baker's End showing the joyous mood of fair week.

A race outside the White Horse Inn at Baker's End

This detailed sketch of the gardens at East Bergholt House, believed to be a pencil study in preparation for ‘Constable Constable's Flower Garden’ 1815

A barge and figures, trees and a horse.

Constable frequently depicted the working waterways that were so crucial to his father's business of trading and transporting coal on and around the River Stour.

A full scale working piece in preparation to ‘A view on the Stour near Dedham’ produced the same year, Constable's fourth work in his ‘Landscape’ collection.

Landscape of barges on the Stour with Dedham church in the background.

A view of Willy Lott's House from the south bank of the River Stour at Flatford.
Believed to be the sketch for 'The Valley Farm' 1835 and a rework of an earlier piece from 1814 'The Ferry' which was exhibited at the Royal Academy in 1814 with mixed reviews.

The Cornfield, at the end of Fen Lane, off Flatford Lane.
As a boy Constable would have walked this way to the Grammar School each day, from East Bergholt House, past the Church and down Flatford Lane, then Fen lane, over new Fen Bridge and the through meadows to Dedham.

South bank of the River Stour with a barge carrying a horse from the towpath to the opposite bank.

This ‘White Horse’ Study is a full size oil sketch of one of his ‘Landscapes' exhibitions, known as the ‘six-footers’ because of their size, and of which the final version is now part of the Frick Collection in New York.

A rider urging a barge horse to jump over a barrier on the tow path at ‘Float Bridge’, upstream from Flatford.

In 1819 Constable embarked on a series of large six foot canvases all based on scenes along the Stour which became known as the ‘six-footers’ and of which this was the last in its series, ‘The White Horse’ 1819, ‘The Haywain’ 1821, ‘A view on the Stour near Dedham’ 1822,’The Lock’ 1824 and the sixth being further up stream at Stratford (Stratford Mill 1820)

East Bergholt Street, a view from the frontage of Dunthorne Cottage.

This is both one of the earliest pieces of Constable's work and the only sketch that depicts this part of the high street of the artist's beloved East Bergholt.

Believed to be 'Swan Nest House', a farmhouse behind what is now known as Willy Lott's House, part of the Valley Farm estate: a house near the water's edge: the house enclosed by trees, a boat near the bank of the river near the foreground, reeds and wooded banks further on.

East Bergholt Church, a view of the South side from the ruined tower.

Very little is known about this piece as held in private collection.

This delightful drawing of a cottage at the foot of Fen Lane, and believed to be the initial sketch for ‘Cottage in a Cornfield’ 1833

Pencil on a light green paper inscribed by the artist at the top with an inscription of which EB is all that is now legible.
Inscribed on the back, but probably by someone other than the artist, ‘The Cottage in the Cornfield’.

Cottages partially hidden by trees with birds above, believed to be Old Mill House, East Bergholt.

Very little is known of this piece held in a private collection. The exact location is unknown but is believed to be from the Church towards Rectory Hill.

Colourful autumn landscape with trees and a white picket fence.

Although the exact painting site is unknown, this is believed to have been painted from a spot off the Flatford Lane behind the Old Hall Estate looking out over the Valley towards Langham.

Sunset landscape with trees at the foot of the skyline. After careful study and deliberation this scene is thought to be from the Old Mill House garden (Gandish Road), looking north towards the Constable family Windmill on Mill Road (look carefully and you can see Old Mill House to the left of the picture).

Comparing this with a current view photo (attached) shows how little this scene has changed in 200 years.

The exact location for this watercolour sketch is unknown but it is believed to be behind the Old Hall Estate off the Flatford Lane.

Cloud study, waiting for the storm behind East Bergholt House.

Always fascinated by cloud formations and the weather, by the early 1820’s Constable began a series of ‘Cloud Studies' in both watercolour and oil, in which he included a margin of land or treetops along the bottom of an image, such as this study from the Donkey Track on the old Heath behind Constable's family home.

Constable, known for his natural tones and vibrant greens to match the everyday colours he saw in the landscape in and around his home of East Bergholt, these classical landscapes  are of vivid colours, painted to give realistic appearance of everyday countryside life.

Golding Constable (the artist's father) worked 94 acres of farm in and around East Bergholt and at Flatford Mill, and the artist often painted farm labourers working in the countryside such as these, his father's tenants shown beating turnip heads over a blanket to collect the oil seeds used to feed livestock, while the figures on the right burn the leftover stems and leaves of the flowers.

Constable portrayed buildings in detail through these series of paintings and sketches of small aspects of architecture and their surroundings around his family home at East Bergholt such as this view through the trees at the back of East Bergholt House at sunset towards West Lodge with the church on the left.