Before fleeing to Istanbul, Vladimir Bobritsky not only graduated from Kharkiv Art School, but also worked as a decorator at a theatre, as an illustrator for several magazines, as a muralist at the Kharkiv circus and the House of Actors, and also demonstrated his organisational skills among avant-garde artists from Kharkiv.

In the autumn of 1919, Bobritsky settled in Istanbul, later started to work at the Theatre des Petits Champs, where he successfully dealt with stage designs and costumes, at the same time he participated in the Union of Russian Painters in Constantinople's exhibitions (including First Russian émigré artists in Istanbul exhibition and Exhibition of Russian émigré artists at Taksim Military Barracks). In addition, “in Asiatic İstanbul he painted signs. In Pera he played the piano in a nickelodeon, lectured on art – freelance, unknown to the museum’s administration but to the complete satisfaction of button-holed tourists” (Yalkert S., “Bobri”).
Bobritsky (most likely together with Leonid Tomiloff) worked successfully at the Theatre des Petits Champs on Meşrutiyet Street over a long period of time. Interestingly, his decorations for the ballet Pan were both historical and futuristic, which led some critics to accuse the painter of “imbalance in the direction of excessive modernism”. In their opinion, this combination violated the unity of the overall impression. However, the artist apparently took this feedback into account, as his setting for The Magic Flute (one of the costume-sketches for this performance can be seen at the the Ukrainian Museum in New York) was, again according to the critics, “less pretentious”, and the stage design for the new version of Scheherazade was recognised as very “spectacular”. After his departure to New York in January 1923, Nikolai Kalmykoff and later Nikolai Peroff took his place.

In New York, Bobritsky continued his “Istanbul” friendship with Constantin Alajalov and Nikolai Vasilieff, and also became close friends with David Burliuk and Nicolai Cikovsky. Initially, he worked in America, as in Kharkiv, in different areas, such as the illustration of books and almanacs, the painting of local cabarets, and scenography, but over time he decided to focus on book illustration. He produced illustrations for children’s books for New York publishing houses, as well as for the magazines such as Vogue, Vanity Fair, Harper’s Bazaar (where émigré Alexey Brodovitch worked as an art director) and The New Yorker (where the Hungarian photographer Ylla's article was published). His advertising drawings and graphics (along with the photographs by Walter Sanders) were published in Gebrauchsgraphik (1932–1933), The Studio (1939), American Artist (1942–1946), Art News (1944–1945), and Graphis (1952). Furthermore, Bobritsky designed advertisements for the luxury department store Saks Fifth Avenue, for which some of the works by the German photographer Ruth Bernhard were commissioned, and the rooftop of which was used as an urban scenery for the fashion shootings by the German photographer Hermann Landshoff.

Notable and representative of the diversity of his creativity is the fact that in America he revealed his talent as a musician and composer. In 1936 he founded and was head of the New York City Classical Guitar Society, and in 1945 became president of the Classical Guitar Society of America (see Illustrirovanniy Biograficheskiy entsiklopedicheskiy slovar’ “Gitaristy i Kompozitory”). At the same time, he was engaged in the design of album covers, and from 1946 to 1985 he worked as an artist and editor of the magazine Guitar Review. It is known that Vladimir Bobritsky died in his house during a fire accident. He tried to rescue his archive and collection but did not manage to save his one life (Leykind, 2019).