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 William Holland
Charleston, SC 29414
e-mail: bill@hollandarts.com

SECTION ONE---41 Years Worth of Knowledge
Read slowly to avoid making costly mistakes when buying Icart artwork
This page is packed with information. There are many tidbits of knowledge packed in each paragraph. Please persevere, it's not a casual read. Read it when you're wide awake and there are no distractions. Reread it until you become a master in all things Icart.

Louis Icart was a Parisian artist best known for his boudoir etchings done in the 1920's and 1930's. His art experienced a rebirth in the 1970's; and with the Japanese buying frenzy of the late 1980's, prices skyrocketed. The market began to readjust in the 1990's due to the recession-plagued economies in the USA and Japan.
Jump to 2025, after many more political and economic vicissitudes, and we see prices on the more common etchings running between $600 and $1,400.
It's not practical or wise to generalize on prices for the less common, rare and/or highly desirable etchings. A very few will top $10,000, with most in the broad range between $2,000 and $8,500.
To muddle the current price structure further are the myriad of fakes, forgeries and damaged pieces that appear on ebay and other auction or pretend-to-be-auction sites. These offerings of limited value confuse many collectors who equate a cheapie repro print with the real thing due to a faulty description or deliberate fraudulence. Did you get a bargain at $500?
Sadly the fear of mistakes causes many potential collectors to avoid buying anything. This applies to other artwork and collectibles as well as our beloved Louis Icart.
Hopefully, the following will fill the Icart enthusiast with the knowledge needed to buy safely and intelligently.  
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TOPICS DISCUSSED BELOW:
1. Limited Edition reprints at auction and elsewhere 
2. COLOR "XEROX" PRINTS at auction and elsewhere
3. Altered reproduction prints at auction and elsewhere
4. Why do I see different prices for the same etching?  
5. The embossed "windmill" seal is reborn
6. REAL vs. REPRO
7. "Morris & Bendien, New York" & other OLD lithographs
8. Icart "Erotica" & Le Jardin Japonais
9. Copyright dates--the repros have them too
10. Edition sizes and other pencil notations on Icart's etchings
11. Icart figurines
12. Icart watercolors
13. Icart pseudonyms
14. Icart "etchings" on white plastic
15. How can I find out what my Icart etching is worth?
16. Icart bronzes at auction and elsewhere
17. Icart "Iris Giclée" prints
18. What about pieces in "not perfect" condition?

1. LIMITED EDITION REPRINTS--ICART MYTH  
There were NO reprints made from Icart's original copper plates. The original plates were destroyed (or polished smooth and reused for another title) when the initial run was completed.
There are some of Erwin Flacks' PHOTO-LITHOGRAPHIC reproductions from the 1960's and 70's, which have edition numbers in the lower left corner and the name Louis Icart in pencil in the lower right. THESE ARE NOT REPRINTS, THEY ARE JUST OLDER REPROS designed to look "special". Usually the edition size is 500 or 1,000, but there is no way to check the accuracy and honesty of the numbering.
The only difference between these repro prints and the ones being made today, is that they chose to stop at 1,000 instead of 10,000 and they took the time to write a number on each one. Curiously, most, if not all are still available after all these years. Like the other repro prints, they are a poor substitute for the real thing. Many are sized much smaller than the corresponding etchings, and all are "knock-off" items, made many years after Icart's death.
Watch out for the wording "Originally reproduced", which implies ORIGINAL, but means REPRO. Some are sold with certificates of authenticity attesting to the fact that they are "authentic" reproductions--whatever that means! Also, see #17 below.

2. COLOR "XEROX" or COMPUTER GENERATED "Mint Condition PRINTS"
Lately many Icart images are being offered that are even smaller and cheaper looking than ever. Some are a tiny 10 1/2 x 8", or less. They are usually sold already matted, so they appear larger in the description. Please read descriptions carefully so you can avoid the disappointment of actually buying one. Again they are advertised as "originally reproduced", or "mint condition prints".

3. Altered Lithographic Reproduction Prints-Turning a $20 repro into gold
Other so-called limited-edition reprints originated in Florida in the 1980's and in 40 some years have now spread across the land. These have fake windmill embossed seals, some of which look pretty close to the real one. Some have another round embossed Icart seal that looks like a corporate seal. Also look for red or blue rubber ink stamps with Icart's name and 1920's dates. The "corporate seals" and the round ink stamps are pure fantasy.
These repro prints are merely modern MASS-PRODUCED poster prints "altered" to look limited. These appear regularly at auction. Usually they are FALSELY advertised as "limited-edition", "signed & #ed", etc.

PARASOL by Louis Icart, 1928. The REPRO was done in the 1970's.         The repro value: $20-30.


Two examples of the lithographic dot-matrix pattern. Etchings will NEVER have this or any dot pattern. You can even see the dots in the signature and above it in the print. Always carry a strong magnifier.

4. Why do I see different prices for the same etching?
The price will be determined by: 1. Gallery expenses. One needs more profit to maintain a high rent gallery. 2. The condition of the etching. If a price seems too low, the etching may have been repaired or have other imperfections. You don't want to buy Icart etchings from a "scratch & dent" operation. 3. The reputation of the seller. You sometimes pay a little more for quality, fairness & honesty. Most auction houses advertise that their items are sold in "As-is" condition. Unfortunately some dealers sell their items as perfect, when they should be marked "as-is".
Regarding the condition of the etching, here are some questions that you should ask: "Are there any tears, scratches, holes or creases in the image or within 1" from the image?
Has anything been done to restore or hide any imperfections?"
Icart etchings are generally acceptable as long as the image is "perfect" and there is enough undamaged white margin around it to frame and mat it properly. The white margin is the area where the signature, plate impression line and blindstamp are.
On a few occasions on rectangular etchings, the blindstamp is in the lower left corner of the image, rather than directly below and on a very few etchings, the lower right corner signature is in the image, rather than in the margin directly below.
On large sheets, repaired tears and imperfections on the edges and in the outer margin area are acceptable.
The value of the etching should be less when the margins have been trimmed if it cannot be framed in a normal fashion. Most etchings with large margins were trimmed to fit into frames that were used in the 20's and 30's, with many oval etchings trimmed to fit oval frames.
Sometimes the sheets were just too large to display properly without trimming. The quest for "full, mint sheets" is a noble challenge. The reality is that most collectors, even in Japan, will not pay extra for the full sheets.

These small irregular white spots were caused by silverfish eating away at the surface of the paper. Beware of this type of damage in the image or close to it, which is a permanent problem affecting the value.

5. If a print has the embossed "windmill" seal on it, does that make it an authentic etching?
Not necessarily. Icart began using the windmill seal regularly in 1926.  It was used only sporadically before that date. Most, but not all etchings produced from 1926 until his death will have the seal. Exceptions will be: 1. artist's proof copies, 2. one that "missed" the hand application of the seal, 3. pieces that were sold to a private distributor and 4. some pieces sold in South America.
Before 1926 you will sometimes see a different embossed seal. It is circular with an E over an M. This was Icart's publisher, Estampe Moderne, for a few years. This stamp was applied in the bottom margin, usually at the center. There is no consistency to its use.
By the late 1920's, Icart was distributed in America by the Louis Icart Society, which was an arm of the New Your Graphic Society. (You will see the N.Y. Graphic embossed seal next to the windmill on some later pieces.) Etching sold by other distributors, like Sidney Z. Lucas, had no windmill. Lucas put his own tiny triangular or round ink stamp (SZL) where the windmill would be. So the rule is: Don't use the windmill seal as a sole means to authenticate an Icart etching. It neither adds value if it is present nor lessens value if it is missing.

Unscrupulous people go to great lengths to deceive you. Just as there are repro lamps with fake Tiffany tags soldered onto them, there are mass-produced, modern Icart lithographic prints with phony embossed seals. I have also seen blue and red "rubber ink stamp" seals on the prints and on the backs of the frames; and in one case a fancy gold seal just below the image with Icart's supposed "corporate" seal embossed into it. Usually these items will also have penciled-in edition numberings to make them look limited. Please don't be discouraged by all this hanky-panky. It is a good indication of  Louis Icart's popularity, that so many people are making repro prints. Buy only from a REPUTABLE AND KNOWLEDGEABLE DEALER who describes the item completely and guarantees its authenticity IN WRITING.

 PICTURE OF A REAL WINDMILL SEAL, not shown actual size. Memorize this picture.


A GOOD FAKE, but you can still see the difference. Note the height of the L and I.

One ''seal"--actually an ink stamp-- used by an authorized, but not ''official'' distributor of Icart in America, Sidney Z. Lucas (SZL). This ink stamp is seen mainly in the late 1920's and 1930's. Etchings with this stamp are 100% authentic. Another variation of this seal is triangular shaped, with the SZL in the triangle. You will see this seal on other, non-Icart etchings as he handled those artists, too. People erase an original "unknown" artist's signature and forge Icart's, hoping you will accept the SZL seal as proof that it is an authentic Icart. Now you know better.
HERE ARE MORE EXAMPLES OF FAKE STAMPS AND SEALS:
Pure fantasy.
Indistinct.
More fantasy.
Windmill stamping, partially in the margin. PARIS is a fantasy ink stamp.
Design is too bold and lettering is unevenly spaced and the wrong font.
HERE IS THE REAL SEAL AGAIN, FOR COMPARISON
Too bold, with extra elements.
Fake round seal and numbering. Windmill indistinct.
A close copy. The "X" is slimmer and "PARIS" is too tall.
HERE IS THE REAL SEAL AGAIN, FOR COMPARISON
Note the fake seal and the accelerated aging of this NEW litho.

BelowLEFT is the closest copy of the windmill seal that I have seen.
Note the improper spacing of the horizontal line above the L and the I,
the shape of the X and the two ''dots'' above and below it,
the different font and the less than crisp lettering:
CLOSE FAKE   Here is THE REAL SEAL

6. How do I know if I am buying a real etching or one of the repros?
Almost all of the prints that are floating around today were produced since the 1960's--many years after Icart's death. The quality is not anyway near that of the etchings, because they are produced using a different printing process, but they may fool you, especially when someone goes to great lengths to make them look old. The modern offset-lithograph will always have a dot matrix pattern visible under magnification. THE RULE: if it has DOTS it is NOT an etching. This will save you 98.6% of the time.
Self-serving plug: The key is to buy from someone who is knowledgeable, reputable and available, should you have a question or grievance. When you purchase, get a written receipt with a full description of the artwork, including a condition report,  AND a written money-back guarantee.

The other .4% of the time: A well-done forgery on high-quality rag paper. Note the poorly faked signature. It has a very bold fake blindstamp, too. Watch out for this piece, titled Spring Flowers, also Gust of Wind and Louise. By examining signatures, plate lines, paper watermarks and blindstamps at reputable galleries, you will learn to easily spot the fakes. More fake signatures are pictured in other chapters.

PERSIAN CAT by Louis Icart. This is a 1980"s repro with fake signature and numbering; deliberately made to look old by exposing to a heat gun or soaking it in tea.

7. Are there any OLD Icart lithographs and who were "Morris & Bendien"?
In the late 1920's Morris & Bendien Company, New York, was commissioned by Louis Icart to make mass-produced prints of three of his popular etching. Lithographic prints were made of Basket of Apples, The Letter, and The Blue Bonnet. They usually have the title (in French) followed by "by Louis Icart". These early prints are quite common because of the large numbers produced. There are some other early prints, most with no markings on them. Their value is much below that of the pencil-signed etchings and the signatures are printed, NOT in pencil. Be cautious: some people alter them with fake signatures. You will find a slightly smaller litho of Speed I, done in the late 1920's. The signature is usually grayish green in color. Always measure the size of this piece and compare to the etching size. There was also a series of lithographic PRINTS of 8 of his OIL PAINTINGS done in 1948. These are quite pretty and well done. Unfortunately, I have seen them listed on ebay as original "pastels". Don't be fooled. Buy from a reputable dealer and get a written guarantee.

BASKET OF APPLES by Louis Icart, 1924. The etching is ALWAYS rectangular. The Morris & Bendien print was made in both rectangular and oval shapes. The oval print is more common.

8. Are the Icart "Erotica" real etchings? What about Le Jardin Japonais?
Icart provided the illustrations for 24 French-published books in the years 1925-1948. They were called livre d'artiste or ''artist's books'' because the illustrations were not just printed pictures on the pages like in a modern day coffee table book; the illustrations were actual etchings (or engravings) printed from Icart's individual copper plates and then hand colored. A few books, like Faust, contained photogravure prints rather than etchings. These editions were larger, as the photogravure process is not limited to 500 quality images as is the etching process.  

Each book was numbered and the edition size was between 50-500. If there were 500 copies of the book, then there were 500 copies of each “erotic” image produced. Many of the books were not bound. The text pages and the engravings came in a fancy slipcase. Because of the value of the complete book, and the desire by collectors to display the artwork in frames, most dealers break up the books and sell the artwork individually.  

With rare exceptions, these etchings were not signed. No, the piece on ebay for $300 is not that rare exception. Think about it. No artist is going to spend his life signing individual pages of a book. Compare the added signatures on the pieces, sold mainly on ebay, to genuine signatures on his full-size etchings. You will find some examples by clicking on the titles HERE.

Icart used a quality rag paper, usually with a visible watermark. You will always see the impression line where the copper plate pressed into the paper. Except for obvious ink-jet printer and Xerox copies, there are no ''scary'' reproductions. It is just too much work for their relatively inexpensive cost.

Most books were sold in both limited-deluxe and standard editions. The deluxe books had extra suites in B&W and/or sepia. You will see pages from these sold individually, sometimes with added coloring and again, many times with added signatures. Most collectors consider them of lesser value. The deluxe books sometimes included a suite of etchings with REMARQUE engravings at the bottom.

B&W from Faust with remarque engraving under the artwork.
 
These usually sell for a small premium because of the rarity and the added artwork. A very few special books had a signed watercolor drawing which followed the theme of the book. The watercolors were never identical to the book etchings. They WERE pencil-signed. It sounds confusing, but the watercolors are on a flat sheet of paper with no plate impression line and do not match the regular book pictures. They are small enough to fit in the book but obviously not a page from a book and very few were made and in circulation.    
              

ABOVE: 5 fake signatures. Icart's O and the T are two letters that are hard to duplicate.


ABOVE: 3 authentic signatures from full-size etchings. Remember there is no "one" Icart signature. His signature changed over his 40 year career and there are variations even in the same year.


ABOVE: plate impression line on the back of an etching (L) and one corner (R). It looks like a shadow outlining the image about 3/8" all the way around. This picture makes it look raised. It is not. You can feel it pressed into the paper.
Note the deckle edge at the bottom of the paper, too. Quality rag based paper usually has one or two rough looking edges where the fibers have not been trimmed.

ABOVE: Authentic watermark seen when holding the paper up to light. There are various paper maker's watermarks.

More:
In the very small edition book La Ronde des Dances--the color etchings were signed. The sepia and B&W suites were not. (Below is a color example from the book).

Felecia in Pink (figure #246 and pictured below) is always plate signed. Icart engraved his signature, in reverse--a remarkable ability! onto the copper plate, so every print from that plate also captured the signature.

Engravings from La Vie des Seins have no margins, therefore no plate impression lines.
(Below is a color example of a double page etching from the book. Note the vertical crease where the page was folded.)


Sometimes Icart signed the title page of a book, but not directly below a picture.

There is a magazine illustration titled: Le Jardin Japonais (The Japanese Garden). It is merely a large page from a 1930's French magazine: L'Illustration. Although old, it is not an etching, and the signature is in the plate, not pencil-signed.

More details on the "bookplate" erotic etchings:
There is some redundancy in the following 5 paragraphs. I left it here just to cover all bases on this important topic.
Icart supplied the artwork for a number of French art books. Almost all of these books contain limited-edition etchings. A couple contain photogravures, which are usually more colorful. Most were hand colored, and they are printed on quality rag paper. Icart signed some of the books but almost no individual pages-- almost  all (99.9%) were unsigned. Please don't fool yourself into thinking that you have a genuine signed etching that was originally enclosed within the test of one of the books. The one notable exception is the very limited-edition La Rondes des Dances book, which has pencil-signed etchings in it.

Some dealers explain signed pieces as being "studio signed" or bearing a facsimile signature. It may sound fancy, but it means that they were NOT signed by Louis Icart.
Some books contained an extra suite in black & white or sepia. Many times you will see these on ebay, either in their original state or with coloring added. Most also contain "later", added signatures.

Some special edition books--the first 20 copies, or similar number--came with a watercolor or pencil-signed etching. These books cost more originally and the valuable extras are usually removed from the book and sold separately. It is impossible to list every exception here, but be advised that most bookplate etchings that are being sold with signatures are NOT one of the rare exceptions. See #17 for more information on the watercolors.

Although the complete books are available, it is more likely to see the etchings from the book sold individually. There are differing opinions as to whether the etchings should be removed from the books and sold this way. Since the practice has been going on since the early 1970's, it is a rather moot point, and it does allow the Icart enthusiast an opportunity to own authentic limited-edition etchings for a reasonable price.

Some erotica etchings are now being offered as giclee prints, (a fancy word for "prints produced by an expensive ink-jet printer"). The original etchings are on quality rag paper and most are hand colored. There should be a noticeable difference. Also, one and only one small repro was done in the 1980's by Icart Vendor Graphics, Los Angeles, titled Shocking the Devil. It is noted and pictured in my book. My inventory list on the ICART EROTICA webpage identifies the French art book in which the artwork was originally included and whether they are etchings, photogravures, or printed illustrations.

FELECIA IN PINK (signed in the plate). One of his erotic etchings, 1947. None of the other etchings in this book were plate signed.

9. If a print has a copyright date on it, can I assume that the print was produced in that year?
Not necessarily. Some of the modern prints have the old copyright information reproduced in the lithographic printing process. There are few rules in the world of repros and fakes.
Also, some authentic etchings do not have the copyright information, either because the piece was not copyrighted in the USA or the etching was printed before the ''official'' information was engraved onto the plate. This usually applies to artist's proof copies or other early pieces.
On the repros, when the photo-lithograph is made, the copyright information and the Icart signature are copied along with the picture image. Many ebay sellers will omit this bit of information hoping that you will think that the printed copyright date is the year that it was made.

Ask the seller the following: 1. Is it an etching? 2. Is it pencil-signed? 3. When was it made? 4. How many were made? 5. What kind of guarantee and return policy do you offer? If you have any doubts, stay far away from that person.

PEONIES by Louis Icart, 1936.

10. What was the edition size for Icart's etchings?
The edition size is limited to a maximum of about 500 because the copper plate wears each time it is inked. In the years before 1920, before he was popular, he was producing and numbering closed editions of 75-150: (i.e. 1/75, 2/75...75/75).  As his popularity grew, he began producing open editions whose size varied depending on the popularity of the individual etching. The usual number was between 350-500 during the 1920's. When the Great Depression hit, his edition sizes plummeted. Most 1930's and 1940's pieces were done in quantities of only 100-300. 
There are exceptions to the above generalities and sometimes galleries, for unknown reasons, would pencil in numbers and sometimes edition sizes on previously unnumbered pieces.
Also, some etchings bear only a single number--a consecutive numbering system. This gave him the flexibility to print, hand-color and pencil-sign only the number that were needed to satisfy public demand (still limited to a maximum of 500).  It also led to more confusion as his initial printing may be numbered consecutively and if demand picked up a few months later, the second run may have no numbers at all.
The only fact concerning his numbering is that there is no consistency and I would say that about 25% of his etchings have no numbers on them at all.
Sometimes a written notation: "Ep. d'art" appears, which is merely the French abbreviation for "artist's proof". It is possible that some galleries back then also wrote this on the etchings, as there are more proofs than most artists would make.
The value of an etching is based on condition, rarity and availability (supply & demand), not the numbers or pencil notations (or lack thereof) written in the margins. 

11. Is it better to buy an early strike or is the quality about the same on all etchings for any specific title?
As mentioned above, the number of etchings will vary by the popularity of any given title at the time they were printed. The process of inking the copper plate does produce a slight amount of wear each time the ink is squeegeed thoroughly into every fine line and depression.
Technically, each etching is unique because of this wear factor and the hand application of other colors after the printing process. On very popular etchings, like Smoke (1926), you will see perceptible loss of detail on the later strikes.
Conversely, an early printing may accentuate figural or background features and even flaws in the plate that gradually fade as the printed numbers increase. You can actually feel the "thickness" of the ink on the very prominent wings of the swan on Leda and the Swan (1934). Later examples are almost flat.
I have found it's more a personal preference rather than a monetary decision. Some buyers like early and actual artist's proofs as being closer to the image engraved into the copper. Others prefer an image that has been ''broken in a little.
 
12. What are the ceramic figurines that are styled after Icart's etchings?
In the 1980's an American company contracted artists in Japan and Taiwan to "copy" some of Icart's etchings in ceramic statues and some decorative round plates suitable for hanging. The workmanship is quite good and the company did get license approval from representatives of the Icart estate.
The products were discontinued in the mid 1990's, and are now collectible on the secondary market.
A reminder: Icart never made ceramic figurines, so these are not copies, they are "fantasy" items, like the bronzes. Fortunately, unlike the bronzes, these are well labeled as NEW items, so no one should be fooled into thinking that they may possibly be authentic Icart. The Franklin Mint made a ceramic statuette of "Tosca", attesting to the continued popularity of Louis Icart in America.

A 1980's ceramic figurine styled after the Icart etching The Embrace.



13. What about Icart watercolors, pastels, hand colored lithographs and pencil sketches?
FULL-SIZED WATERCOLORS: Icart did almost NO FULL SIZED** watercolors. Also, with VERY, VERY FEW exceptions, he did NOT do watercolors that look almost identical to one of his known FULL-SIZES etchings. The phony Leda watercolor pictured below is a typical example of someone banking on the unsuspecting collector's assumption that this watercolor is the "study" for the popular etching.
In the past 20 years, every watercolor that I have seen,  that looked similar to a known etching has been a NEW PHONY--a pen & ink outline with watercolor wash and a fake signature.
Many pencil sketches are being sold with fake Icart signatures. The sketches were NOT done by Icart, even though they may look old. 
There are REAL Icart pastels seen occasionally. The pastels are all unique, so it is impossible to be more specific here. Please research the piece and the seller before buying pastels or other one of a kind items.
In 1928 he did a series of plate signed lithographs (no dot pattern is discernable) with pastel coloring called Sketches of Women (Dessins des Femmes). These are mislabeled for sale as "original drawings" or "pastels" by auction houses or unknowing sellers.
The size of these 25 different lithographs is about 14x18". If you run across what appears to be an original drawing of this size, have it checked to be sure it is not one of these pieces.  Five commonly seen images in this series:
1. A woman with head down holding a blue broken jug.
2. Strolling woman wearing a pointed hat with a mask on it.
3. Back view of a woman with a parrot to the left.
4. Woman holding up a doll.
5. Back view of a woman holding a large hat behind her.
 
SMALL BOOKPLATE SIZED WATERCOLORS: In the special presentation copies of some of his erotic books, Icart included a watercolor drawing along with the suite of etchings. These watercolors are small, about 6x8", and DO look similar to one of the small erotic etchings in the same book. The small watercolors are usually signed in pencil. One is pictured in the Icart Erotica book.

**FULL SIZED refers to the etchings that were originally sold as individual art prints at galleries--the ones pictured in my book: Louis Icart: The Complete Etchings. Most FULL-SIZED etchings are larger than 8x10", so if you see a large watercolor, it is most likely a fake. 

Fake watercolor. Similar to the etching, Leda & the Swan.

Another fake by a modern aspiring art forger. .  

14. Did Icart use any pseudonyms?
Lately, people are erasing legitimate signatures on old etchings by other Deco artists and replacing them with Icart's. Another deception is to pretend that Icart used various pseudonyms. Legitimate etchings and prints done by Hardy, Guy, Renart, Bernart, etc., are being falsely marketed as Icart.
These Icart ''imitators" of the 20's and 30's never reached the popularity of Icart and therefore prices on most should be below that of Icart's works.
One pseudonym possibly used by Louis Icart is William Fadat. He is identified as an American artist on some sites and as a Louis Icart pseudonym used during WWII on others. I don't know.

Bubbles by Guy. Misrepresented as Icart on ebay and elsewhere.

15. What are the Icart etchings on white "plastic"?
This is another creation by some creative forger in the late 1970's. Popular Icart images were heat embossed onto milky white "plastic" sheets and colored to approximate the etchings on which they were based. They sold for about $50 back then and have only decorative or no value today.

16. How can I find out what my Icart etching is worth?
I can appraise your etchings for a small fee. It is best if I can see them in person but I can write you a good appraisal from your digital scans, and your description. Some insurance companies insist that the artwork be personally examined, so check with them first.

17. Did Louis Icart ever do bronzes?
Louis Icart did a very small number of  bronze sculptures for his own amusement. They were individual creations for his home. If they had been made for sale,  they would have had very little commercial potential and he never tried to market them.
He did NOT do bronze figures of women, swings, bicycles, etc. The bronze fantasy creations of the 1980's and 1990's, usually by unknown artists from faraway places with exotic names like Taiwan and China base their design on popular, recognizable etchings.
Most bear a fake Icart signature or just say  "Icart" or "By Icart", and the shyster's intent is usually to deceive the public into thinking they were made by Icart, or are copies of his bronzes. Or maybe they just liked his name better than their own.
The bronzes being marketed today are NOT OLD, and they are NOT COPIES of any bronzes ever done by Louis Icart. They are decorator items like the Mona Lisa on black velvet. Elvis has left the building and with the OD of Michael Jackson, there is a big void in the market for Icart bronzes and other decorative crap. Fortunately Barbra Streisand is still around and don't we all wait for her sage advice on the next hot collectible and whom we should support in the next election.

Three phony bronzes

18. What are the Icart Giclée prints? ("Iris Giclées" according to an ebay listing).
Giclée (jhee-klay) - French meaning 'to spray ink'.  A scanned image printed on a high resolution, inkjet printer. Also called Iris prints.
Louis Icart would likely be intrigued by the Giclée process, but unfortunately died many years before it was developed. Hence, all of these prints are new--produced over 50 years after his death, with the signature being copied in the printing along with the image.
I don't know if they are made with authorization or not. Doubtful. There is also some question about the longevity of prints made with this printing process; fading is of concern. Are they worth anything? How much? Only time will tell.

19. What about pieces "not in perfect" condition?
LOUIS ICART & other Boudoir artists: Most etchings in the 1920’s and 30’s were glued to acidic cardboard (drymounted) and subjected to conditions which promoted the growth of mildew and mold spores (foxing). The acid in the mat boards causes the artwork to turn brownish or gray. 
Etchings in original or old frames that show these characteristics should be "cleaned" to remove the cardboard matting, destroy the mildew and neutralize the acid. Some collectors like the "aged" look and there's nothing wrong with that. If the etching is hung in a modern climate controlled environment, the ageing process will not radically change over the coming years.
If the paper or image does deteriorate, usually from moisture, it can always be cleaned at that time.
The conservation process restores the artwork to its original beauty. Almost every etching that I sell has been cleaned. The cost is about $400-$450, which is included in my prices. I assume all of the risk involved in cleaning them. If the etching comes through the process without problems, then I offer it for sale to my clients. Pieces that do not come out perfectly are consigned to auction or sold to “scratch & dent” dealers.
Etchings that have holes, scratches, tears, creases or water damage in the image or plate line area, or small margins that render it unframable, have greatly diminished value.
Occasionally you will find etchings with a 1/2" round hole deliberately punched through the image or the word SAMPLE perforated into the image. These were samples (duh!) given to galleries and have only decorative value today.
It's important to differentiate between holes caused by accidental punctures, like broken glass or mishandling, and the one instance where holes belong on the etching paper.
While most etchings were hand-colored, on some very colorful etchings Icart added color by re-inking the plate and pressing the ink into the paper a second time. There are two registration pin holes in the paper--center top and bottom or center left and right.
The pins made it possible to keep the paper in the same location for each inking. The two pin holes remained after all the inking and pressing is completed.
Water stains and creases can be removed, bringing the piece back to perfect condition, but results vary.
Holes and tears can be airbrushed to improve the damaged areas. If cosmetic retouch is necessary to hide the damage, the value of the etching is still considerably lower than a perfect piece, even if the damage is not easily visible.
The value of these damaged or small margin pieces depends on the specific damage and varies depending on the rarity of the etching.
Should you need an etching cleaned, please contact me for details and risk assessment.

 SECTION TWO:  Specific offenders, common forgeries, many from ebay

Beware of phony engravings of DOLLAR and FLUTTERING BUTTERFLY. These are not the typical altered lithographs, so they are harder to identify as forgeries.

BEWARE of fake Icarts on ebay, especially private auctions. The pieces are numbered and have a fake signatures and embossed seals. Private Auctions of fake watercolors are still seen on ebay, too. One seller actually offers a guarantee of authenticity. Good luck! I just examined an Illusion that was purchased for $500. It was a cheapie copy with the normal forged seals and signature. The buyer has had no success in getting her $500 back even though the seller signed her emails, "Bless your little heart."

Belle Rose is described as a lithograph etching--covering all bases, I guess. It is a $39 repro. There are many repro prints that have phony seals and signatures with bad pictures of the same. Most are now numbered editions of 450 or 600.
The listings are very confusing. Sometimes they call their item a lithograph or litho. Sometimes they list it as being produced in 1950 or later (Icart died in 1950). The apparent ignorance of what they are selling should alert you that these are just more modern repros with fake seals and bad signatures. BE CAREFUL.

 Large Icart watercolors are extremely rare. Hey! another one just appeared for sale. Does anyone else see the red flags here? Looks like Moscow on May Day. Most collectors assume that Icart did a watercolor study for each of his etchings. Not true. In 25 years, I have never personally seen a watercolor that looks similar to one of his etchings.

There are a lot of bogus listings, many from Florida. most are either altered repro prints with phony seals or authentic bookplate "erotica" etchings with unrelated ridiculously high price comparables.
A reminder: ALL of the so-called Icart bronzes are NEW "fantasy" items.

The FAKE Icart watercolors are all over the place. They are sometimes called sketches or gouaches. REMEMBER, Icart rarely did watercolors that look similar to his popular etchings. 99.9% are outright phonies.

Important Reminder: Beware of "prints", that have fake windmill and other seals and are numbered. People are paying hundreds of dollars for these $25+ altered repros.


Here is THE REAL SEAL



Note one seller's "guarantee":  Please be advised that any work of art that is described in our listing using the terms found below (i.e. “Attributed to”, “Circle of”, “Studio of”, “School of”, “Manner of”, “After”) carries no guarantee of authenticity. While the use of these terms are based upon careful study and represents only our opinion, "xxxxxxxxxxx” and any consignor assume no risk, liability or responsibility for the authenticity of authorship for any lot in our listings on Ebay described with these terms."

This is OLD but still indicative of certain characters in the art world. Found this article on the net.
Copied from The Business Security e-Journal, December 2000, page 6

At an art fair in Portland, Ore. three years ago, John spotted a watercolor by American illustrator Maxfield Parrish. Erwin Flacks, the ponytailed dealer offering the art, apparently knew his stuff. He pointed out his name on the title page of a book on Maxfield Parrish, which he had nearby. Flacks’ own book, Maxfield Parrish, [ed. actually written by Richard Perry with prices updated by Mr. Flacks and inexplicably author-changed in the follow-up edition] advises collectors how to spot fake Parrishes. Impressed, Hammer paid Flacks $3,600 for a Parrish watercolor. Over the next few months he paid the dealer $15,100 for what he thought were three more Parrish studies.

He should have bought Flacks’ book instead. Had they been genuine, the watercolors would have fetched at least $10,000 apiece. But the Maxfield Parrish Family Trust told Hammer that he was holding worthless fakes. The same drawings had been bounced from a Phillips auction in 1981. “I feel so stupid,” laments Hammer, a real estate developer in Eugene, Ore. The art was taken by the FBI in November.
Who can prove that Flacks knew they were fake? It is not a crime in the U.S. to sell phony art and antiques unintentionally.

A burgeoning number of dealers peddle art that turns out to be bogus. And occasionally they hit the jackpot. Just ask actress Whoopi Goldberg. She bought five “Parrish” drawings from Flacks about three years ago. New York art dealer Judith Goffman, and several other art dealers, visited Goldberg at her Los Angeles home and fingered the drawings as counterfeits. Christie’s and Sotheby’s wouldn’t touch them either.

Goldberg promptly sued Flacks and his wife, Gail, for her money back. The dealer responded with his own lawsuit--against Goffman--for “interference of trade.” After a two-year court battle, Flacks collected in excess of $100,000 from Goffman’s insurance company. He and his wife gave Goldberg her money back--a reported $45,000. Not a bad exchange.

The art has since been taken by the FBI. Groans Goldberg: “Your dealer can’t tell you whether something they spot on your wall is fraudulent, because they might get sued.”

~
DISCLAIMER: I have written or co-authored two books on Louis Icart and have devoted over four decades to the study of the man and his artwork. However, no one knows it all. If I generalize, I believe my information is accurate in almost every instance. I am not responsible for the odd, special-order or rare item that does not fit into my classification. BUT, please let common sense prevail: if an item is so unusual or rare that it is not listed in the normal reference material, why would someone choose to sell it on ebay and not at Christie's or Sotheby's? I make judgment calls from photos and descriptions on ebay. My assessment is almost always correct. The goal of this guide is to enable you to make the same judgments. If occasionally you or I miss out on a bargain, so be it. I try to err on the side of caution. If there is any doubt in my mind, then I will not bid or buy the item in question. This guide is written with that conservative philosophy in mind.

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