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Several women named or described as Elvira had relationships with the artist at different periods, giving rise to a persistent conflation between multiple Elviras who may have served as models.5 Although the two paintings are very different in style and technique from Modiglianis Parisian portraits and nudes of c.191517, they have often been associated with a boisterous entertainer named Elvira, known as la Quique, with whom the artist had a relationship in Paris from around 1912 to 1914.6 The artists daughter, Jeanne Modigliani, argued in her 1958 memoir that the popular association of the Elvira series with the entertainer was likely false, citing the temporal discrepancy between the dates of her fathers relationship with this Elvira and the purported 1918 to 1919 dates of the paintings.7 The memoirs of another member of the artists inner circle, Anna Zborowska, puts forward another possible Elvira: an Italian youth who may have modelled for Modigliani in the South of France in 191819.8 The technical study of the materials and methods of these two portraits was designed to ascertain if they were executed in close succession.9 The analytical results were then compared with studies of paintings from the different working periods of Modiglianis practice in order to situate them chronologically within the artists oeuvre

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