interiors - August/September 2014

THEN THE DESIGNERS ASSEMBLED A MULTICULTURAL mix of furnishings. Scandinavian pieces abound, but they’re unpredictably juxtaposed. In the living room, two Hans Wegner Circle chairs from Wyeth, a pair of 1980s Vistosi glass tables and a 1970 Jorge Fick painting from East Hampton dealer Eric Firestone create a timeless vignette near the main seating area, which features custom sofas and, above the fireplace, a 1961 work by Ukranian Cubo-Futurist painter David Burliuk. There are Wegner chairs in the dining room, too, and Danish ceramic pendants overhead. But these share space with a papier-maché buffet by Studio Job and a 1966 acrylic work by Italian-American Vincent Longo.

The solarium, boasting built-in seating with shelves above and drawers underneath, also reads vaguely Danish or Swedish. But shelves display sculptures by Hamptons artist Mia Fonssagrives (“I like to bring local talent to the table,” says Egan). And ceiling lighting by the Swiss-born, Paris-based Thomas Boog—through Maison Gerard in Manhattan—riffs elegantly on a brand of nautical kitsch common in coastal communities everywhere. A Boog mirror in a powder room gets an even more elevated treatment amid lapis lazuli and Thassos marble tile from Ann Sacks.

But Egan didn’t overplay the Scandinavian card. Millwork in Mikhail’s study may be blonde, but the mahogany desk is 1966 Jules Leleu, the light fixture is Israeli artist Ayala Serfaty’s and the stool is from Egan’s own collection for Maison Gerard. There’s no Scandy hint in the basement, which Egan renovated to accommodate a wine room, sauna and media room. Nor is it detectable in the master bedroom, where contemporary furnishings—Tucker Robbins bedside chests, Lianne Gold sconces from Ralph Pucci, a Loro Piana linen-swathed custom bed and sofa—contrast with Sendich’s own photo of a Ukranian wheat field and a quartet of paintings by Nicholas Howey.

The project spanned three years, but the Filimonovs were not in a hurry. “There’s an old Russian saying, You have to measure something ten times before you cut it once,” observes Mikhail. And like any effective international treaty, it is deftly crafted. Every detail, says Egan, is executed “by people who care about what they’re making and where it came from. It’s so important. It has a different feel, significance and weight.”