The significance of J.R. Geigy SA, the Basel pharmaceutical, pesticide and dyestuff producer (later merged into Ciba-Geigy and ultimately Novartis), as a corporate patron of Swiss functional design cannot be overestimated. Flush with profits from its discovery of DDT in the early 1940s, Geigy expanded from a somewhat parochial dye maker to a diversified multinational enterprise within a short time. What was called "propaganda" played an important part in that expansion, and the firm's in-house studio engaged many Basel art and design students, as well as freelancers including the staff of Josef Mueller-Brockmann's firm in Zurich. Richard Hollis' Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965 and other recent surveys credit Geigy, but include relatively few examples of the firm's output; this may be because the materials it produced were addressed to specialized audiences in medicine, agriculture, etc. This book, which complements a Zurich exhibition I would have given anything to see, rectifies this matter considerably. There are many pieces included that have not appeared in articles on the firm's graphic output in Graphis, Gebrauchsgraphik, etc., and the well-researched text places the organization of Geigy's design studios and freelancers in much-needed perspective, and credits individual designers more thoroughly. Only shortcoming is with respect to the American and British branches' output, which could have been better represented; some masterful work, such as a superb series of pharmaceutical ads appearing in U.S. journals in 1960, isn't included. That said, this is as close to a definitive survey of the Geigy graphic design legacy as we could wish for. An indispensable book.