Gijsbrechts often used the illusionistic device of a curtain to partially cover the principal object depicted in the painting. Gijsbrechts is alluding thus to the common 17th-century practice of protecting precious paintings behind a curtain. Gijsbrecht pushed the limits of the trompe-l'œil painting to its limits with his picture "Easel with still life of fruit" (1670-72, Statens Museum for Kunst). It has the outline of an easel sawn out of wood, with three pictures leaning against it and all kinds of objects attached to it. On the easel is a still life of fruit, with an unfolded letter hanging over its upper edge. In front of sill life he painted or attached various painting utensils, including a painting stick that originally protruded far into the room and a hook from which the palette dangles. On the left of the still life painting a small oval picture with the portrait of his patron Christian V is painted and immediately next to it is a note with the painter's signature. On the floor is another trompe l'oeil picture which leans against a leg of the easel and of which only the reverse side is visible.