This study focuses on the rediscovery and analysis of a largely overlooked painted wooden reliquary shrine from the Church of Saint Stephen in Hoeselt (Limburg, Belgium). The object, which had not previously been inventoried or studied by national heritage institutions, resurfaced in 2024 following a public appeal launched within the framework of the PaReS – Painted Relic Shrines in Situ project. This ongoing research initiative investigates painted wooden reliquaries dating from before 1566 that survived the iconoclastic outbreaks in Belgium and remain in their original ecclesiastical contexts. Initially dismissed as a modern imitation due to its crude painted surface, the shrine was re-evaluated through in situ analysis, art-historical interpretation, and archival research, which suggest a production date in the sixteenth century. The structure consists of nine oak panels joined with wrought iron fittings. Multiple layers of polychromy were identified, including traces of an earlier and more refined decorative scheme. The reliquary has been opened on several occasions since the 16th century, as documented in various historical sources. These records describe a diverse collection of relics, some accompanied by identifiable inscriptions (e.g., Saints John the Baptist, Benedict, and Ursula), while others lack provenance. During the same research campaign, a second, nearly identical shrine was discovered in the church attic. Its comparable dimensions and iconography suggest it was created as a deliberate replica, possibly for processional use. This study demonstrates that the Hoeselt reliquary represents a significant yet understudied piece of religious heritage. Further technical analyses, such as dendrochronology and advanced imaging, are recommended to refine its dating and reveal earlier iconography beneath later overpainting. The case underscores the broader value of local religious artifacts for understanding regional devotional practices and material culture in the post-medieval Low Countries.