resident in London 1767 or 1768–69; cabinet maker(b. 1741–d. 1784)
Georg Haupt was born in Stockholm on 10 August 1741. His father, Elias Haupt, was a master cm whose position in the
Cabinet-Makers’ Guild appears to have entitled his son to preferential treatment. The young man was app. at thirteen, some nine months before he was eligible, to a leading Swedish cm, Johan Conrad Eckstein. His apprentice ship lasted for five years only, from 1754–59 after which he was given temporary work with Eckstein's uncle, Friedrich Eckstein, Master of the Cabinet-Makers’ Guild. The significant years of his career, in so far as his work in London is concerned, were those he spent as a journeyman. His first visit was to Germany in 1760. Then, together with his future brother-in-law, Christopher Fuhrlohg he set off in 1762 to Amsterdam, moving on in 1764 to Paris. It is not known for whom the two young men worked in Amsterdam but evidence suggests that they were employed in Paris in the workshop of Simon Oeben, brother of Jean-François. The basis for this suggestion is the existence of a bureau plat, signed by Haupt. [Institut Géographique National, Paris] The inscription on the piece in red chalk reads: ‘George Haupt Suedois a fait cet bureau a Chanteloup 1767.’ The desk bears the inventory mark of the Château de Chanteloup, country seat of the Duc de Choiseul, Simon Oeben's foremost patron. It is of solid mahogany and, for such an early date, severely Neo-classical in style. A writing desk and filing cabinet [Musée des Beaux-Arts, Tours] also bears the inventory marks of the Château de Chanteloup. These pieces, decorated with marquetry in a geometrical design, have been attributed to Simon Oeben. Svend Eriksen has expressed the view, however, that their quality is not such as to justify an attribution to the French master and that they may, more probably, have been made by the young journeyman, Georg Haupt, while he was working at Chateloup in 1766–67. A study of the signed bureau plat and the writing desk and filing cabinet [illus. Svend Eriksen, op. cit., below] throws light on the experience of the newly emerging Neo-classical style that Haupt had gained in Paris. Meanwhile, in the Summer of 1766, Haupt's nephew, the painter Elias Martin, had arrived in Paris to join his two compatriots. Christopher Fuhrlohg was the first to move on to London. Elias Martin and Haupt followed either at the end of 1767 or early in 1768. It may have been in Paris or after their arrival in London that Martin painted a portrait of his uncle, now in the possession of the Nodiska Museet, Stockholm. It shows the young man, in lace cravat and blue silk waistcoat, seated casually at a carved and gilt table with an open book and a pair of compasses in his hands. [illus. Lagerquist, op. cit.] There were two points of contact of which Haupt made use on his arrival in London. The first was the Swedish Church where the young cm received communion, according to the church records, on 7 February 1768. The second was the architect, William Chambers, who had been born in Sweden and is known to have kept closely in touch with Swedish immigrants and visitors to England. He was also on good terms with the Swedish Court and subsequently, in 1772, was awarded a Knighthood in the Order of the Polar Star. Haupt's relationship with Chambers is documented by the only piece of furniture (now in the V & A) definitely known to have been made by him while he was in England. This is a small square satinwood table with one drawer, inlaid with laurel festoons, the top consisting of nine specimen plaques of coloured marbles. It is inscribed beneath in ink ‘Cette table a été Commandé et Dessiné par Mr. Chambers Premier Architect de Sa Majesté Britannique et executé par son très humble Serviteur George Haupt Suedois, Londres le 4 Fevrier 1769’. [illus. Hayward and Kirkham] Haupt may have set up his own workshop in London but there is no evidence to support this view. There is, however, evidence that Christopher Fuhrlohg was employed for a limited period by John Linnell at his Berkeley Sq. workshop until he eventually set up on his own at 24 Tottenham Ct Rd. There are grounds for suggesting that Haupt may have joined his friend in working for John Linnell for the short time which he spent in England. Fuhrlohg's connection with John Linnell is established elsewhere. This connection very probably originated through William Chambers since Chambers and the Linnell firm had both been employed by the Child family at Osterley Park, Middlx. When Fuhrlohg, and then Haupt, arrived in England, John Linnell was engaged upon furnishing the Library at Osterley Park. Of the pieces provided and still in the Library, the two bureaux plats are essentially French in character. The large pedestal desk is richly inlaid with laurel wreaths, heavy oak-leaf swags and urns with stiff, angular handles. All these motifs can be paralleled in Haupt's work executed in Sweden after his return to his own country. [Lagerquist, op. cit.] They were certainly not then part of the repertoire of marquetry ornament used by John Linnell. One further piece supplied to Osterley at the same time is even more relevant in pointing to Haupt's authorship: the fall-front medal cabinet made for Robert Child and still in the possession of Lord Jersey, descendant of the family. [illus. Hayward and Kirkham] This is inlaid with motifs such as diaper patterns, medallions with heavy swags looped and suspended into heart-shaped surrounds and urns set on pedestals with high, angular handles. These features occur in Haupt's work and, in particular, on a writing-table and filing cabinet made by Haupt for the King of Sweden in 1770. [The Royal Palace, Stockholm, illus. Hayward and Kirkham] There are hardly such telling parallels between the Osterley pieces and the known pieces made subsequently by Fuhrlohg in England although both Swedish cm may have been involved. Their shared experiences came to an end when Haupt was informed by the Swedish envoy, Gustav Adam von Nolcken on 1 August 1769 of his appointment in Sweden as Ebeniste du Roi. His work in England must have been outstanding to warrant such an appointment. The Osterley pieces are certainly of the highest quality and if, indeed, they were his work, they would surely have demonstrated his skill. [M. Lagerquist et M. Jarry, ‘Note sur une table d’ébéniste George Haupt découverte en France’, Revue de l'Art Français, 1953, pp. 239–40; G. de Bellaigue, ‘English Marquetry's debt to France’, C. Life, 13 June 1968; J. Hayward, ‘Christopher Fürlohg, an Anglo-Swedish Cabinet-Maker’, Burlington, CXI, 1969, 648–55; J. Harris, Sir William Chambers, Knight of the Polar Star, London, 1970; C. Streeter, ‘ Marquetry furniture by a brilliant London Master’, Met. Museum Bulletin, June 1971, pt 1, pp. 418–29; J. Hayward, ‘A newly dis covered commode signed by Christopher Fürlohg’, Burlington, CXIV, 1972, 704–12; E. Andrén, Snickare Schatullmakare och Ebenister i Stockholm, Nordiska Museet, Stockholm, 1973; S. Eriksen, Early Neo-Classicism in France, London, 1974; J. Hayward, ‘A further note on Christopher Fürlohg’, Burlington, CXIX, 1977, 486–93; H. Lagerquist, Georg Haupt Ebéniste du Roi, Nordiska Museet, Stockholm, 1979; H. Hayward and P. Kirkham, William and John Linnell, 1980] H.H.