Dan Kelly

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Post by studio-pots on January 29th 2015, 9:12 pm

Dan trained at Camberwell School of Art where his greatest influences were two of his tutors, Colin Pearson and Ewen Henderson.


Dan Kelly Dk_gro11


These days Dan teaches at City Lit. in London as well as making pots. Until the last few years his work was unmarked but instantly recognizable, being thrown stoneware with black glaze and maybe a splash of white slip. The white pot above is porcelain.

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Post by studio-pots on February 1st 2015, 3:49 pm

He is also one of the nicest people you are likely to meet and a good laugh.

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Post by studio-pots on May 3rd 2020, 1:05 pm

In 2004 the Harlequin Gallery in London held a Teabowl exhibition and I asked Dan to make a selection especially for the exhibition. Here's the one that I kept for myself.

Dan Kelly Dk_ta10

Dan Kelly Dk_tb10 Dan Kelly Dk_tc10

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Post by NaomiM on May 3rd 2020, 2:10 pm

Unmarked? Provenance will be very important for resale since it’s not what you’d call typical of his work or instantly recognisable

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Post by studio-pots on May 3rd 2020, 3:25 pm

Dan didn't mark any of his work until maybe the last 10 years so most of his work that sells in Maak auctions is unmarked. Other people that bought them at the exhibition were given an option to have printed receipts with an image and all the other details. However, real collectors generally buy because they want something and never consider or think of reselling.

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Post by philpot on May 3rd 2020, 5:34 pm

' Real Collectors'.....mmmmm...now there is an interesting phrase Laughter Laughter
Off hand I can think of only two 'major' potters who do not sign their work. Richard Batterham and Ewen Henderson, and their work is so stylistically powerful that it is instantly recognisable. The other two names that come to mind are Svend Bayer and Clive Bowen, but I am not quite too sure if their work is so stylistically strong as to compare with Henderson and Batterham. So that is 4. Any other names? Whatever, it is not a large number.
So it would seem that most potters made the commercial decision to mark their work. Presumably to attract collectors!

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Post by NaomiM on May 3rd 2020, 8:12 pm

I ask potters to sign their postcards or whatever, at the fairs so I have an ephemera collection as well as the pottery. It was a mistake for the collectors to turn down the printed receipt, imo. Other collectors would like the option to have it when the piece is sold on - maybe not in the Collector’s lifetime but until anyone cracks immortality we only have the items on loan; they will be sold on eventually

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Post by studio-pots on May 4th 2020, 11:40 am

You are correct because of what might happen later and that is why I offered. However, I think addicted collectors, rather than investors or people collecting with an eye on the future, don't seem to think that way. It is just necessary for them to own the piece and nothing more.

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