He established a fashionable studio in Bond Street in London, specializing in small scale portraits in pastel, crayons or gouache, often borrowing Reynolds' poses.

By some critics Gardner is regarded as a notable artist who, however, was not an accurate draughtsman if it came to figure work especially to facial construction in some of his pastels.

For others, on the other hand, it is this special looseness or facile elegance which represents the uniqueness of Gardner's style, and in which they see an anticipation of impressionism.

There he was taught by Johann Zoffany, Nathaniel Dance-Holland, Benjamin West, Giovanni Battista Cipriani and Francesco Bartolozzi.

Reynolds' late style clearly influenced Gardner's work in terms of composition, handling, and conception of figures.

He spent a considerable part of his time away from home, having adopted the practice of staying in the house with his patron, when he could paint various members of the family, and sometimes of the neighbouring gentry as well.

During all this time, Gardner was carefully saving up his money, and as soon as ever he was able to do so, he purchased on 10 December 1787 the old home of his parents in New Street, Kendal, and the property adjacent to it.

Gardner continued this practice of buying houses and land for many years, until he had accumulated a substantial fortune and finally could afford to retire.

The gentleman shown on this very first oil picture was Philip Egerton of Oulton (1738–1786), bareheaded, and holding a hoe in his hand.

As a result, his works were later, mainly in the 19th century, often attributed to his colleagues Joshua Reynolds or Thomas Gainsborough since they were better known within the general public.

[11] Marion Spielmann, in his work on British Portrait Painting, speaks of the connection between Thomas Gainsborough and Daniel Gardner.

[12] Samuel Redgrave wrote about Daniel Gardner: "He had a nice perception of beauty and character, and composed with elegance.

"[3] And William Hayley wrote in his Essay on Painting, Epistle II:[13] Let candid Justice our attention lead To the soft crayon of the graceful Read; Nor, Gardner, shall the Muse, in haste, forget Thy Taste and Ease; tho' with a fond regret She pays, while here the Crayon’s pow’r she notes A sigh of homage to the Shade of Coates.

[21][22] According to The Gentleman's Magazine, Daniel Gardner died on 8 July 1805 from liver failure at 3, Beak Street, Golden Square, London.

In the column of the Monthly Obituary there was the following short note to read: "Mr. Daniel Gardner, of Warwick-street, Golden-square, formerly an artist."

If he stayed in the house of his patron to do some portraits of him and his family he would even make it a condicio sine qua non to have his proper lockable workroom.

[25] Gardner did not mix easily with his fellow artists, who viewed him as parsimonious, but he did form a close friendship with Joshua Reynolds and John Constable.

[2][13][26] This exhibition included 70 small portraits owned by Lady Strachey which were formerly in the collection of Lord Carlingford who purchased the pictures from Anne Eliza Dixon, Daniel Gardner's granddaughter.