Juan Moya Castillo was born in Almería around 1875 and learned the art of guitar making from his father, Miguel Moya Redondo. The Moya family maintained a close relationship with Antonio de Torres, and Miguel Moya Redondo was even authorized to label himself as a "disciple of Antonio de Torres." Growing up, Juan Moya likely spent time in the presence of Antonio de Torres and undoubtedly benefitted from his mentorship. His guitar-making style reflects the strong influence of Torres' techniques.

To support himself, Juan worked as both a cabinetmaker and a guitar maker. He married Francisca San Juan Pardo, and together they raised six children. By 1910, records indicate that the family was living on Calle Caravaca in Almería. Among their children was a son, Sebastian, who became a cabinetmaker like his father but did not take up guitar making. Juan's workshop was located at La Palma No. 33, where he advertised his craftsmanship, offering guitars, bandurrias, and guitarros (a descendant of the baroque guitar with five double-string courses that remains a folk instrument in Aragón and Murcia). Juan Moya Castillo passed away around 1937.

Although the exact date of this guitar is unknown, it is estimated to be from Juan Moya's mid-career period, around 1916. Similar to many guitars made by Torres, it features a three-piece top and a three-piece back—details that Torres often employed. The guitar includes five fan braces but lacks kite braces. Its tone is extraordinary, with clarity rivaled by only a select few instruments. It delivers exceptional volume, responsiveness, and a distinctly flamenco character, making it a standout example of superior craftsmanship in the world of guitars.