He was a versatile artist who produced history paintings, genre scenes and portraits in a style influenced by the trio of leading Antwerp painters Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens.

[4] Between 1627 and 1632 he likely worked closely with Anthony van Dyck who was during that period back in Antwerp after a long stay abroad.

The two artists collaborated on individual works of art while Boeckhorst also produced copies after van Dyck.

He first worked on the decorations for the 1635 Joyous Entry (the so-called 'Pompa Introitus') into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand.

[5] For the Pompa Introitus Broeckhorst contributed architectural elements on the 'Arch of Isabella' and the figures of 'Securitas' and 'Salus publica' in collaboration with Gerard Seghers and Jan Borchgraef.

He returned to Antwerp and in the period 1636–1638 he collaborated with Rubens’ workshop on a large commission to make mythological decorations for the hunting pavilion Torre de la Parada of the Spanish king Philip IV near Madrid.

[5] His large collection was sold after his death in a sale which lasted six days and raised the considerable sum of 6,026 guilders.

[7] Boeckhorst was a versatile painter who produced history paintings on religious and mythological subjects, allegorical works, genre scenes and portraits.

The first signed painting, a Madonna and Child with Saint John is dated 1646, about 20 years after his arrival in Antwerp.

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.

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).

The expressiveness of van Dyck's figures and use of colors, such as in Ulysses discovers Achilles dressed up as a girl (Alte Pinakothek, Munich), is also noticeable in works from this period.