In 1816 the Prince of Wales, now Prince Regent, granted Gilliland an annuity of £400, formalised by a contract of June 1817.[7] In 1827, Gilliland bought what he claimed was a portrait of Shakespeare, an identification not otherwise supported.[8]
Elbow Room, a Pamphlet containing Remarks on the shameful Increase of the Private Boxes of Covent Garden, London, 1804.[1] A satire on John Philip Kemble's management.[1]The Critical Review called it "very scurrilous, and very ridiculous".[10]
The Diamond New Pointed; being a Supplement to "Diamond cut Diamond:" containing Three Letters which Mr. Jefferys sent to Earl Moira, with a view to obtain Money from His Royal Highness the Prince of Wales; with Observations thereon, including Remarks on his Letter to Mrs. Fitzherbert. By Philo Veritas, 1806.[11][12]
The Dramatic Mirror, containing the History of the Stage from the Earliest Period to the Present Time, London, 1808, 2 vols., an expansion of the Synopsis. It has information on the provincial theatres, and biographies of the principal actors from the time of Shakespeare and of dramatic writers subsequent to 1660. It was illustrated with portraits and other engravings, and dedicated to the Prince of Wales.[1][3] Although Knight called it "of little merit",[1] it has been cited in recent scholarship on the history of English theatre.[13]
The Trap, a Moral, Philosophical, and Satirical Work, delineating the Snares in which Kings, Princes, and their Subjects have been caught since the days of Adam; including Reflections on the Present Causes of Conjugal Infidelity. Dedicated to the Ladies, London, 1808, 2 vols.,[2] a satire Knight calls "dull and indecorous".[1]
The engraver John Thomas Smith called Gilliland "my worthy friend" and "author of the celebrated pamphlet of 'Diamond cut Diamond,' and, I believe, about sixteen or seventeen others in defence and support of the English government".[14]
Manners, George; Jerdan, William (January 1808). "[Review of]The Dramatic Mirror". The Satirist, or Monthly Meteor. I (iii): 418–424: 420. Retrieved 8 December 2019.
Wivell, Abraham (1827). "The Gilliland Portrait". A supplement to An inquiry into the history, authenticity, & characteristics of the Shakspeare portraits, . London: Simpkin and Marshall. pp.12–15. Retrieved 7 December 2019.;
Norris, Joseph Parker (1885). "The Gilliland Portrait". The portraits of Shakespeare. Philadelphia: R. M. Lindsay. p.210. Retrieved 7 December 2019.;
Spielmann, Marion Harry Alexander (1911). "Shakespeare, William/The Portraits of Shakespeare". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol.24 (11thed.). Cambridge University Press. p.791. The 'Rendelsham' and 'Crooks' portraits also belong to the category of capital paintings representing some one other than Shakespeare; and the same may be hazarded of ... the 'Gilliland portrait' (an old man's head impudently advanced)[.]