Let a Parisian tell the story.
Pleyel as an independent piano builder never really recovered after bankruptcy during the Great Depression. It soldiered on under bank ownership, and later various investors from Italy, and a period when Schimmel leased the brand name. In 1997 a Tech businessman, billionaire and piano lover, Hubert Martigny, attempted to relaunch the Company together with the famous Paris Concert Hall that bears its name (and unfortunately IMHO a place notorious for awful acoustics, now more or less permanently closed). This was a brave attempt but never succeeded, and the last albeit excellent pianos were built in 2012. They were totally modern designer pianos built from components sourced from the best (Renner, Bolduc, etc...) but owed little to Pleyel tradition.
But today the name Pleyel still commands quite a following in Europe for a number of respectable reasons.
(A) Chopin. Everybody knows that the pianos built in 1830 - 1870 by Pleyel (Ignaz Pleyel was an immigrant to France from Austria) and Erard were ahead of their times, and Chopin's favourites. They were in due cause superseded by the next generation based on foundry plates and cross-stringing, spearheaded by Steinway.
(B) High Standards. In the late 19th century, André Wolff led the Pleyel company and decided that Pleyel would never build a market product but focus only on luxury offerings at very high prices. Paris society was known for its wealth, high standards, and the tyranny of fashion. The positive effect to this day is that all Pleyels were extremely well made, with no cutting corners.
(C) Family traditions. Therefore many, and I one of them, grew up with a Pleyel in their grandparents or parents home, heir to the times before electronic music when (often) ladies playing the piano was your only home access to Mozart. The temperate climate of France is very forgiving to soundboards, meaning that these pianos had long useful lives.
Against that it can be said that later Pleyel's (1900-1939) were only respectable renderings of Steinway or Blüthner ideas. They often use Schwander actions, with some techs today dread. They were not geared to concerts or big venues, a market soon cornered by Steinway*, and projecting sound was not their forte, also something that made professional musicians suspicious. Their rather mellow sound is rich, voluptuous and intimate.
Anyway the net-net is that today, as I have covered in another thread, there are two thriving but distinct markets for restored Pleyel's, particularly in France.
First, the "Chopin" Pleyel, straight-strung masterpieces of the mid 19th century, commanding phenomenal prices. You can also buy a sterling (and sterling-priced) copy from Chris Maene or Paul McNulty.
Second, the family heirloom "parlour" Pleyel grand of the 1920 - 1939 period, usually 5 1/2 to 6 feet, and particularly the "3 Bis" and "F" models, nearly always finished in prestigious veneers. Because the soundboard seldom needs replacement, they need not be hugely expensive.
People interested can check here
*Occasionally in the 1880 - 1914 period, and later, Pleyel built a limited number of 9 ft concert grands usually on special commissions from Concert Halls or Château Ballrooms, all clad in precious woods.