After the drama surrounding the 1819 debut of the artist's massive canvas Raft of the Medusa, Gericault made plans to travel to London and exhibit his canvas to the paying public there and in Dublin from June 1820 until March 1821. Upon his arrival in the capital Géricault quickly joined the elegant, horsey set surrounding the accomplished rider Zoë Elmore and her husband, the horse dealer Adam Elmore. This dual portrait of the couple riding on their estate documents the close connection between the young French artist and the equestrian community, which provided contemporary subjects that were suited to his interests.
Gericault's productivity during this extended English sojourn resulted in a large number of watercolors, and the Elmores inspired several additional works. Among the artist's output are sketches of the couple riding, studies in wash and watercolor of Adam Elmore on horseback, and horses from the Elmores' stables. This scene of leisure serves as a counterpart to Géricault's explorations of equine labor that characterize his work in London.