Studio of Domenikos Theotokopoulos, called El Greco

Reverend Theodore Pitcairn, Bryn Athyn, Pennsylvania;
Thence by descent to Feodor Pitcairn. 

Philadelphia, Philadelphia Museum of Art, Summer 1960 (as by El Greco). 

The canvas is relined but has not been restored for at least 15 years. A rarer thick milky varnish which has slightly discolored uniformly covers the canvas. A few small cosmetic retouches are visible under uv in the figure's forehead. A small repaired tear to the canvas is visible under uv just below the neck. This tear is visible along three thin lines each measuring approximately 5 cm. The paint has thinned in the greens in the figure's chest, revealing the red ground, which is visible in the catalogue photograph. Otherwise the facial features have retained good detailing. In carved and painted wooden frame.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

El Greco painted two major series of three-quarter length easel pictures of Christ and the Apostles, both from circa 1605-10. Known as the Apostolados, each series is still preserved intact, one in the Toldeo cathedral and the other in the Museo del Greco at Toledo (see H. E. Wethey, El Greco and His School, Princeton 1962, vol. I, figs. 206-230). The present painting is a quotation that follows the composition of Saint Luke, the prime version of which is only recorded in the Toledo Cathedral series. The composition of Saint Luke was apparently quite popular, owing to the numerous variations and later repetitions that have surfaced over the years. The entire series, in fact, found great favor in Europe, as they illustrated, and epitomized, a Counter-Reformationist approach to religious imagery, notably by humanizing the various saints and focussing on their individual personalities. 

A note on the provenance:
Theodore Pitcairn (1893–1973), was an avid art collector and philanthropist in the mid-20th century, whose eclectic and important collection included works by Vincent van Gogh, various Egyptian antiquities, and no less than two paintings by El Greco.