he moved to King's Lynn to be closer to his wife's relatives, advertising as "Professor of Painting, Oil and Water Colours, and Drawing Master". He taught drawing from his house on Norfolk Street but still maintained an artistic output, exhibiting some two hundred works at Mr Lockett's Coffee House in King's Lynn Market Place in January 1808. He produced illustrations for the second volume of William Richards' History of Lynn, published in 1812. He also made watercolour drawings of church monuments such as the font in St Peter Mancroft in Norwich. Later years In 1811 Sillett moved with his family back to Norwich, which he made his permanent home. A member of the Norwich Society of Artists from 1806, he became Vice-President of the Society in 1814, and President in 1815. He was one of the artists who along with Ladbrooke and Thirtle seceded from the Society in 1816, forming a new group known as the Norfolk and Norwich Society of Artists. In a barely conceal dig at John Crome (and thus at the old Society), Sillett wrote, "There is more beauty in the delineation of flowers from the garden and human figure rather than pig stys [sic] and cart sheds..." Along with other members of the group, he showed his works at its exhibitions for three years before it was disbanded. He then returned to the original group and exhibited there until 1833. Although highly regarded as a painter during his life time, rivalry between local drawing masters caused him to write to the Norwich Mercury in 1817, in order to emphasise that his teaching "is by no means confined to Fruit, Flowers, &, as has been intimated". In 1818 Sillett is recorded as living in the centre of Norwich on the "west side of City Ditches". In 1826 he published his own Grammar to Flower Painting; : being a concise, plain, and easy method for amateurs to attain the rudiments of the science without the help of a master. In 1828 he published a set of fifty-nine views of Norwich buildings. The publication, Views of the Churches, Chapels and Other Public Edifices in the City of Norwich, was a set of fifty-nine lithographs, and was one of the few lithographic major projects produced by the Norwich School of painters after the use of the new medium spread rapidly during the 1820s. His original intention was for his engravings,