An Attic Red-figured Panel Amphora, attributed to the Leningrad Painter, circa 470-460 B.C.

with pedestal foot, cylindrical handles, and echinus mouth reserved on top, the obverse painted with a youth shaking hands with a bearded man, and flanked by another bearded man on the right and a woman on the left, the youth wearing high laced leather boots, cloak over his shoulder, and petasos hanging over his back, a spear shouldered in his left hand, a sword at his side suspended from a baldric, the older man with hair and beard white with age, holding a walking stick, and wearing an himation and soft shoes, the man at right clad in an himation and holding a walking stick, the woman at left wearing a chiton and himation and holding a phiale and oinochoe at the ready for offering, the reverse with four conversing men and women, one man holding a walking staff, the woman at right a oinochoe, an Etruscan numerical graffito, the number 35, on the reserved underside of the foot.

The Hon. Richard Oakley Pleydell-Bouverie, third and youngest son of the 7th Earl of Radnor, of Longford Castle, Wiltshire, England, acquired by inheritance from his grandparents in 1975 (Christie’s, London, October 6th, 2011, no. 86, illus.)
Cahn International AG, Basel, acquired at the above sale
acquired by the present owner from the above

Cahn AG, Basel, Auktion 8, September 11th, 2013, no. 1
Bonhams, London, October 2nd, 2014, no. 13, illus.
Beazley Archive Pottery Database, no. 9028595

Very good, rim above handles is repaired from several pieces with areas of restoration along the break lines (some visible in catalogue photo). A small area on the foot on side A seems to be in-painted.
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This Amphora type B is one of two complete examples known by the Leningrad Painter, a prominent artist in the workshop of the Early Mannerists, a pupil of Myson, and ‘brother’ of the Pig Painter (in Beazley’s terminology). The other complete amphora is in the State Hermitage Museum, St. Petersburg (inv. no. B 2228: ARV2, 570, 70; Para. 513), and gives the painter his name. There are also fragments of a very elaborate example from Adria (Mus. Arch. Naz., inv. B no. 248: ARV2, 571, 71). Closest to the present vase is a once heavily restored amphora in the Vatican (Museo Etrusco Gregoriano, inv. no. 17887, ARV2, 573, 11), which Beazley observed ‘should be by the painter himself’. To these may be added an amphora fragment  by the Leningrad Painter in Parma (Mus. Naz. di Antichita, inv. no. C. 71: CVA Parma 1, pl. 4.3).

For a somewhat comparable scene of Theseus being greeted by his father at Athens see the amphora type B in London by the Oinanthe Painter (Brit. Mus., inv. no. E 264: ARV2, 579), a related Early Mannerist. For the Leningrad Painter in general see J.D. Beazley, ARV2, 567-574 and 1659; BAdd2, 261-262, and T. Mannick, The Late Mannerists in Athenian Vase-Painting, Oxford, 2001, 15-17, pls. 8-12.