As was common practice among Antwerp painters, Boeckhorst often collaborated as a figure painter on compositions with landscape painters Jan Wildens and Jan Brueghel the Younger and still life painter Frans Snyders. An example is the Peasants going to the market (Rubenshuis, Antwerp) on which he collaborated with Frans Snyders. This genre scene, which also acts as an allegory of the four elements, is of a monumentally large scale at 217.5 cm in height and 272.5 cm in width. The work shows the influence of Jordaens' genre paintings. Boeckhorst may have collaborated on devotional garland paintings. Garland paintings are a special type of still life developed in Antwerp by Jan Brueghel the Elder in collaboration with the Italian cardinal Federico Borromeo at the beginning of the 17th century. The genre was initially connected to the visual imagery of the Counter-Reformation movement and typically involved a collaboration between a figure painter and a still life painter. No collaborations with Boeckhorst on garland paintings have been attributed with certainty. Boeckhorst is believed to have made changes to works by Rubens. He did so with a tronie painted by Rubens around 1613 called King David playing the Harp (Städel, Frankfurt am Main). The second Rubens tronie of c. 1616/17, which Boeckhorst transformed around 1640/41 into a bust-length format was the Head of a bearded man in profile holding a bronze figure (Christie’s, London, 2 July 2013, lot 30). He possibly also enlarged Rubens’ Rise of the Blessed at the request of Jan Wildens in order to form a pendant with the Fall of the Damned then in Wildens’ own collection. After the late 1630s Boeckhorst's collaborations appear to have ceased. Portraits Boeckhorst's portraits are influenced by Anthony van Dyck and Cornelis de Vos, the two leading portrait painters in the first half of the 17th century. He occasionally painted lively group portraits. Some of his large group portraits, such as the Portrait of a Family (Alte Pinakothek, Munich), are in the style of Cornelis de Vos but with more liveliness and spontaneity. Central in his group portraits is the emphasis on the virtue of strong family bonds, the so-called 'Concordia familiae'. Boeckhorst was skilled in depicting his models in a spontaneous and lively manner. His portraits are of an informal character. He also used backdrop draperies, which in imitation of Jordaens, were represented very vividly. Later works His later works from the 1650s