The violin market presupposes vast differences between violins, which from the audience viewpoint before an orchestra, can appear to be quite similar. On what are these market distinctions based? Can modern makers hope to approximate the quality of the famous makers of the past? What is important to the violinmaker? This study, of the work of a very successful Swedish violinmaker, Peter Westerlund, offers an opportunity to consider some of these questions in relation to his production and development.