About the luthier

Edgar Mönch, born 29 October 1907 in Leipzig, emerged from a musically rich background—his mother a Russian pianist and his father a violinist and kapellmeister. His early years in Russia and later studies in mechanical engineering at the Technical University of Danzig (now Gdańsk) reflect a foundational duality of engineering discipline and musical sensitivity. He then worked as a technical interpreter at the Škoda works in Prague, where he also pursued violin study at the conservatory. It was during World War II, while held as a German prisoner of war in an English camp, that Mönch encountered a violin maker from Breslau (now Wrocław) and first engaged in guitar making. After his release in 1947 he dedicated himself fully to luthiery and refined his craft in Spain under Marcelo Barbero in Madrid. His workshop went on to train several important luthiers including John Larrivée, Kolya Panhuyzen, Ken Bowen and Joseph Kurek. His instruments were chosen by luminaries such as Andrés Segovia, Julian Bream, John Williams and Vicente Gómez. Mönch passed away on 16 February 1977, just two months after the death of his son. His guitars remain celebrated for their precision, clarity and enduring voice.

About the guitar

This 1958 model is a superb example from Edgar Mönch’s mature German period. Its spruce top shows an exceptionally tight and uniform grain, pointing to decades of seasoning and careful material selection. The back and sides are made of Brazilian rosewood with a striking visual regularity, a combination that has become increasingly rare to source. This instrument embodies the sonic characteristics for which Mönch is revered: crystal-clear note separation, focused projection and a singing sustain. While the basses are firm and resonant, they remain contained and do not encroach on the clarity of the trebles, which carry with an airy brilliance. The overall response is quick and articulate, benefiting from Mönch’s careful bracing. The original Landstorfer tuners are functioning well.

Condition

The guitar is in very good condition. It shows minor signs of wear consistent with regular, careful use. Two small cracks are visible on the back, both of which have been professionally glued and are considered stable. There are no signs that these are developing further. The French polish finish remains visually appealing, with expected patina and light surface marks typical of a concert guitar from this era.

Edgar Mönch

Edgar Mönch - 1958