- 1885 : Paris, École Nationale des Beaux-Arts, Eugène Delacroix, 1885, no. 115, as Arabe syrien et son cheval au piquet).

- 1912 : Saint Petersburg, Exposition Centenaire de l'Art Français,1912, no. 193, ill.

- 1930 : Paris, Musée du Louvre, Eugène Delacroix, 1930, no. 204A, as Cheval persan tirant au renard.

- 1936 : Paris, Petit Palais, Gros et ses amis, ses élèves, 1936, p. 156, no. 238, as Cheval persan tirant au renard.

According to the author of the catalogue for the 1930 Louvre exhibition, Delacroix gave this painting to Hyppolyte Poterle (1803–1835) around 1824. In the absence of any documents proving this donation, Johnson (op. cit., vol. I, p. 27) rejects this hypothesis and dates the work to 1825, at the time of the artist's trip to England, based on Delacroix's description of the painting, published in Sylvestre's book (op. cit.: "Horse with an Indian (England)". From May to August 1825, Delacroix undertook a trip to England during which he filled several sketchbooks with drawings and handwritten notes.

According to Johnson (op. cit.), the standing figure is that of an Indian, and the accessories and clothing he wears were inspired by items seen in the collection of arms and armour belonging to Samuel Rush Meyrick, a specialist in the history of European armour who, according to the artist himself, possessed "perhaps the finest collection of armour that ever existed" (letter to Théophile Thoré, 30 November 1861, see P. Burty, Lettres de Eugène Delacroix (1815-1863), Paris, 1878, p. 344). Delacroix visite sa collection le 9 juillet 1825, à Cadogan Place, Londres (voir L. Johnson, dans Delacroix: an exhibition of paintings, drawings and lithographs arranged by the Arts Council of Great Britain in association with the Edinburgh Festival Society, Edinburgh, 1964, no 95 et 96).

The saddle placed directly on the ground is typical of the Marathas (a Hindu warrior people occupying central and south-western India), while the sword and shield, and probably the bamboo spear, were inspired by the weapons carried by a mannequin dressed in the armour of a Polygar (a tribe from southern India). The horse was inspired by one of the horses belonging to horse dealer A. Elmore, a close friend of the artist and Géricault during their stay in England.

In 1857, Félix Bracquemond (1833–1914) produced an engraving based on the painting then in the collection of Paul Huet (see Metropolitan Museum, inv. 22.1.21).