How Much Is After the Luncheon Worth?

Painted in 1879, After the Luncheon falls squarely within Renoir’s prime Impressionist years, when he produced many of the works that define his legacy. The subject—an intimate, modern leisure scene in Montmartre with identifiable participants—speaks directly to the artist’s central themes of contemporary life, sociability, and light. Its placement in a major European museum and inclusion in scholarly literature further cement its standing within the oeuvre. While not at the ultra‑iconic level of Bal du moulin de la Galette or Luncheon of the Boating Party, it remains a representative, high‑quality expression of Renoir’s mature Impressionist sensibility, warranting an upper‑tier valuation among his multi‑figure interiors and genre scenes.

The 1879 date is a critical value driver: late‑1870s Renoirs consistently command a premium over later works. The composition’s multi‑figure, narrative interior with known sitters (including the actress Ellen Andrée) adds depth and desirability beyond single‑figure portraits or landscapes. This subject type aligns with proven market demand for Renoir’s Parisian and leisure scenes, bridging domestic intimacy with modern urban culture. The painting’s nuanced interplay of gesture, gaze, and setting creates a psychologically engaging tableau—qualities that upscale competing interest versus simpler figure studies. Collectors seeking museum‑grade Impressionist social scenes will ascribe particular value to this combination of date, subject matter, and compositional complexity.

At 100.5 x 81.3 cm, the work presents a substantial display presence relative to many late‑1870s Renoirs that transact at auction. That larger format enhances wall power and narrative impact, which is rewarded in the market when matched by convincing color, brushwork, and condition. The period’s characteristic handling—supple modeling, luminous palette, and deft facture—positions the painting above smaller canvases and less resolved interiors from the same timeframe. This scale advantage is visible in recent benchmarks, where smaller late‑1870s examples achieve strong mid‑ to high‑seven‑figure prices; a larger, more ambitious canvas like After the Luncheon merits a premium into the eight figures, assuming a healthy surface.

The painting’s route through Paul Durand‑Ruel, the preeminent Impressionist dealer, and its 1910 acquisition by the City of Frankfurt for the Städel Museum, deliver exemplary provenance credibility and over a century of institutional stewardship. Museum ownership signals quality, scholarship, and stability, which de‑risks acquisition for prospective buyers. While deaccession politics can complicate hypothetical sale scenarios, the underlying pedigree would remain a clear plus for valuation. Works with this depth of provenance and public visibility tend to inspire broader bidding fields, private‑sale interest, and more confident pricing compared to examples with opaque or interrupted histories.

While no current public condition report is available, surface integrity (original paint layers, varnish, retouching, structural support) can shift Renoir outcomes by several million dollars at this level. Prime‑period oils that retain lively brushwork and color balance typically outperform lined, heavily retouched, or dulled surfaces. Technical imaging (UV/IR), conservation history, and stable support would support the upper half of the estimate; conversely, significant restoration or compromised passages would skew bidding toward the lower bound. For a late‑1870s, museum‑grade Renoir, a favorable condition profile materially reinforces the $20m+ plausibility.