Juan Moya Castillo was born in Almería around 1875 and learned the art of guitar making from his father, Miguel Moya Redondo. Notably, the Moya family shared a close relationship with Antonio Torres, and Miguel Moya Redondo was even granted the authorization to label himself a "disciple of Antonio de Torres." Juan Moya likely grew up in the presence of Don Antonio de Torres and undoubtedly benefitted from his guidance. His own guitar craftsmanship was heavily influenced by Torres.

To sustain himself, Juan pursued a livelihood crafting cabinets and guitars. He married Francisca San Juan Pardo, and together they raised six children. In 1910, records place them residing on Calle Caravaca in Almería. They had a son named Sebastian, who followed in his father's footsteps as a cabinet maker but did not appear to venture into guitar making. Juan operated his workshop at La Palma No. 33, where he advertised the creation of guitarras, bandurias, and guitarros (a descendant of the baroque guitar with five double-stringed courses that continues as a folk instrument in Aragon and Murcia). Juan Moya Castillo passed away around 1937.

While the exact date of this guitar is unknown, it is estimated to be from the mid-career period, circa 1916. Like many of Torres' guitars, it features a three-piece top and a three-piece back, a characteristic Torres frequently employed. The guitar boasts five fan braces but does not incorporate kite braces. Its tone is exceptional, characterized by a clarity that rivals only a select few other guitars. It possesses remarkable volume, responsiveness, and a distinctly flamenco character, making it a true powerhouse in the world of guitars.