The Lawyer Africa Elite 2014 features an in-depth look at 46 leading independent firms’ strategies in 15 key sub-Saharan jurisdictions, as well as the views of in-house counsel from some of Africa’s largest companies... Read more
This year, The Lawyer’s annual ranking of the largest UK law firms by turnover is available as an interactive, digital benchmarking tool. For the first time this will allow you to manipulate each data set against the metrics of your choice.
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'.