The Lawyer’s new China Elite report contains the most detailed research available on the PRC legal market and contains unparalleled insight into the country's leading law firms. They vary in size, practice focus and geographic coverage, but they all share one common quality – ambition... Read more
An exhaustive analysis of the UK market including every firm in the top 200 ranked, analysed and benchmarked, UK chambers ranked by turnover, revenue per barrister and which international firms are most active in the UK.
Modern art really is dangerous, particularly in the workplace. And not just for the hoots of derision that can befall an error of judgement (see, for example, the horse made supposedly from underpants in Allens Arthur Robinson's atrium, or the rather phallic-looking sculpture - mischievously titled 'want' - in Simmons & Simmons' reception, above). In the good old days, you knew that art was art - a portrait or a landscape hung in a beautiful frame - and it was given due reverence. Not anymore, however, mostly because it is pretty difficult to tell what is actually art and what is rubbish. Take Berwin Leighton Paisner's (BLP) generally rather enviable art collection. Tulkinghorn is reliably informed that one of its modern art pieces consisted of a tissue box with 'stuff' artistically overflowing from it. Would any reasonable human being recognise that as art? Probably not, so whoever was responsible for recently removing the 'stuff', thinking it was just some rubbish, can easily be forgiven. Fortunately, the artist was not precious about his work and promptly came up with some replacement artistic 'stuff'.