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Sexy Fish

Restaurants in London

Sexy Fish is a restaurant at Berkeley Square House, Mayfair in London, United Kingdom, on the south-east corner of Berkeley Square. The restaurant is part of the Caprice Holdings group, whose chairman is Richard Caring. Sexy Fish opened to the public on 19 October 2015. The restaurant serves Asian fish and seafood and seats up to 200 people in the main restaurant on ground level.

Excerpt from the Wikipedia article Sexy Fish (License: CC BY-SA 3.0, Authors).

Sexy Fish
Berkeley Square, City of Westminster Mayfair

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N 51.50935 ° E -0.1444 °
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Berkeley Square House

Berkeley Square
W1J 6BE City of Westminster, Mayfair
England, United Kingdom
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Hong Kong Economic and Trade Office, London
Hong Kong Economic and Trade Office, London

The Hong Kong Economic and Trade Office London (Chinese: 香港駐倫敦經濟貿易辦事處) is Hong Kong's representation in the United Kingdom. Apart from the United Kingdom, the Office is responsible for fostering trade and economic relations with countries including Denmark, Estonia, Finland, Latvia, Lithuania, Norway, Russia and Sweden. The Office promotes bilateral trade with and investment in Hong Kong, updates the business communities and multiplier organisations on important developments in Hong Kong, organises official visits, seminars and liaison activities in the countries concerned, facilitates investors from the above countries who wish to seek business opportunities in Hong Kong and in Mainland China through Hong Kong as the hub of operation. The office is located at 18 Bedford Square in the City of Westminster in central London; the building also houses the London office of the London Representative Office of the Hong Kong Trade Development Council and Hong Kong Tourism Board. It was previously located at 6 Grafton Street. The current Director-General of the office is Winky So, who reports to the Special Representative for Hong Kong Economic & Trade Affairs to the European Union, Brussels ETO.The Hong Kong Economic and Trade Office Act 1996 confers a number of immunities and privileges on HKETO London either in line with or similar to provisions of the Vienna Convention on Consular Relations afforded or accorded to consulates-general and consulates of high commissions and embassies, consulates-general and consulates, codified in the United Kingdom as the Consular Relations Act 1968. When Hong Kong was under British administration, the office was known as the Hong Kong Government Office and was headed by a Commissioner.Apart from the UK, HKETO London is also responsible for maintaining ties with Denmark, Estonia, Finland, Latvia, Lithuania, Norway, Russia and Sweden.Other European countries fall within the purview of Hong Kong Economic and Trade Office, Brussels and Hong Kong Economic and Trade Office, Berlin.

Exhibition of Australian Art in London
Exhibition of Australian Art in London

The Exhibition of Australian Art in London was a show organised by the trustees of the Art Gallery of New South Wales (AGNSW), notably Julian Ashton, and financially supported by the philanthropist Eadith Walker. Held at London's Grafton Galleries between April and September 1898, it featured 371 artworks made in Australia by 114 artists, and was the first major exhibition of Australian art to occur internationally. The exhibition focused almost exclusively on art from the previous ten years, a time of intense patriotic feeling in Britain's Australian colonies, which were then on the cusp of federating to form the Commonwealth of Australia. By staging the exhibition in London, the capital of the British Empire, the organisers sought to promote the idea of an emerging Australian tradition in Western art, and to depict the maturity of Australia as an embryonic nation. Some Australians also felt that local artists, compared to local writers, had hitherto been overlooked in Britain, and, as the Grafton Galleries catalogue highlighted, it was time to showcase a collection of works "for the judgement of connoisseurs outside of Australia."In order to build a "representative" collection, the AGNSW trustees sought submissions from artists throughout the colonies. However, the final selection of works received criticism for evidencing a bias toward New South Wales artists, and several organisers, including Ashton, himself a prominent artist and taste-maker, were accused of self-promotion. Despite these controversies, the exhibition won considerable, if unanticipated, critical acclaim in Britain, and such was the show's popularity that Grafton Galleries kept it open for four months past the original closing date. It remains the largest exhibition of Australian art in Britain, and is also notable for its near equal representation of women artists, a far higher percentage than any other show of its kind.