Akimov′s workshop embraced the Neo-Russian and Neo-Byzantine styles, aligning with the tastes of the nobility and wealthy merchant class during the reigns of Alexander II and Alexander III. He not only developed the traditions of early 19th-century Moscow silversmiths but also adapted them to the shifting aesthetic trends of the period.
Among Akimov’s most valued contributions was his use of cloisonné and multicolored enamel. The workshop created pieces that met the high standards of the artistic market, serving both liturgical and export needs, especially in response to European demand for objects in the “Russian style.”
Judging by surviving hallmarks, Akimov’s products bore the master’s initials “ВА” (in Cyrillic or Latin) alongside the official Moscow assay marks. The earliest known pieces date to the 1860s, featuring relatively restrained ornamentation compared to the more elaborate items of the 1880s–1890s. Possible cooperation with other Moscow suppliers and larger firms—such as Fabergé—is plausible, though not confirmed by documents.
Akimov’s creations are preserved in various museum and private collections. Especially prized are items that combine fine enamel work with religious or folk themes, as well as luxurious secular objects distinguished by elegant form and ornamental sophistication. Their artistic expression allows Vladimir Akimov’s output to stand as a worthy counterpart to that of St. Petersburg masters, who were generally more oriented toward Western European aesthetics.
Today, Akimov’s works are highly valued on the antiques market, especially among collectors of 19th-century Russian silver and enamel. Their defining features—vivid enamel palettes, cloisonné virtuosity, and refined form—make them instantly recognizable and in high demand.