Of all the sculptors active in South Germany during the 18th century, Joseph Anton Feuchtmayer was one of the most original. His figural compositions tend to blend heavy flowing drapery with highly stylised physiognomy. The present beautiful pair of sculptures of Faith and Hope betray many of the characteristics best associated with Feuchtmayer's works. The figure of Hope finds a comparison with a wood bust of Mary Magdalene from a confessional in Salem Cathedral dating to 1738 (Boeck, op. cit. no. 43); note the same facial expression and the similarly prominent nose and brow. The thick flowing drapery, which dominates both figures, can be found throughout Feuchtmayer's work; see, for example, his Scholastica in the Fahr Abbey, Aargau (Boeck, op. cit. no. 49). Faith's covered head is paralleled in a bust of St. Catherine of Cortona from a confessional in St. Gallen (Boeck, op. cit. no. 117). Her pose and the arrangement of her drapery can also be said to compare with a figure of St. Anne in the chapel at Schloß Zeil, Algäu (Boeck, op. cit. no. 118).
W. Boeck, Feuchtmayer Meisterwerke, Tübingen, 1963, nos. 43, 49, 117 and 118; P. Volk, Rokokoplastik in Altbayern, Bayrisch-Schwaben und im Allgäu, Munich, 1981, no. 109; U. Knapp, "Feuchtmayer," Grove Art Online. Oxford Art Online. Oxford University Press, accessed September 1, 2013, http://www.oxfordartonline.com/subscriber/article/grove/art/T028116pg3.