Elias Mögel was a key figure in Central European Baroque painting who, within the territory of the then Kingdom of Hungary, continued the tradition of illusory quodlibet painting—hyperrealistic trompe l’œil. Elias Mögel was actively painting in Bratislava, and only a few fragmentary details are known about his life. He married in 1751, and his last will and testament was read in 1786. He left behind only a few dozen works, which are housed in prestigious collections, and the origin of his outstanding painting skills remains a question for future researchers. The quodlibet genre (“whatever you like” and also “a potpourri”) is composed as a perpendicular view of a tabletop or cabinet, where seemingly trivial objects such as letters, prints, or, as in the work presented here, sheet music and a violin are arranged. The utmost emphasis is placed on capturing the characteristics of the object in question—every texture and every curve is essential to the illusion and must be rendered with meticulous care. To this extent, the work conveys the very essence of the object. In this case, the imitation of delicate and detailed prints serves as a refined test of the painter’s skill. Elias Mögel incorporated prints by Johann Jakob Haid into several of his works—in this case, the Italian cello virtuoso Francesco Alborea is depicted. The works of masters of Transalpine or German Baroque printmaking appear very frequently in trompe l’œil still lifes. Accompanied by a restoration report by Academician Tomáš Záhoř.