Haupt is widely accepted as the most accomplished cabinet-maker Sweden has ever produced, comparable in stature to such craftsmen as Jean-Henri Riesener in France, David Roentgen in Germany and Thomas Chippendale in England. On completing his apprenticeship, Haupt left Sweden and the rigorous guild system which prevented him from developing his skills freely. With Christopher Fürloh, Christian Linning and the painter Elias Martin, he travelled to Amsterdam, Paris and London. In Paris he probably met the well-established fellow Swede Alexandre Roslin, who specialised in portraying the French aristocracy and is known to have taken an active interest in helping his compatriots upon their arrival in Paris. It was however probably through an introduction by Carl Petter Dahlstrom, who worked with Jean-François Oeben until 1755, that Georg Haupt joined the atelier of Simon Oeben, the brother of the celebrated ébéniste du roi. Under Simon Oeben's supervision Haupt executed a bureau plat for Etienne-François de Stainville, duc de Choiseul at Chanteloup, in the newly emerging and burgeoning neo-classical style. The balanced outline and clear and harmonious appearance of this piece, demonstrate how well Haupt was able to absorb and interpret the new style, which he was to introduce to Sweden upon his return.
Conversely, the marquetry skills for which Haupt was to become acclaimed, first appeared during his stay in England. Between 1768 and 1769, Haupt worked with John Linnell on his most prestigious commission, the furnishing of the library at Osterley Park for Robert Child. Haupt's characteristic marquetry repertoire appears to have developed during such time, shortly before the cabinet-maker was recommended to King Adolf Fredrick (1751-1771). Haupt's trademark marquetry typically feature designs such as the profile medallion featured on this table as well as on a related secrétaire à abattant sold from the Österby Bruk Collection, Christie's, London, 8 December 1994, lot 576 (£375,500). Such compositions most probably derive from designs by Delafosse published in his 1768 Recueil de Meubles.
Another striking feature of this table is the fine chasing of the mounts and the richness of the marquetry, arguably among the most elaborate of Haupt's oeuvre and further supporting the hypothesis, that this piece may have been executed for one of Haupt's most important patrons.