John Thomas McIntyre (1871-1951) was a Philadelphia author of mysteries, noir, historical fiction, and plays. His first detective Ashton-Kirk was similar to Philo Vance and Spike Tracy, wealthy young socialites who assist the police. Ashton-Kirk appeared in four books between 1910 and 1918, preceding Vance and Tracy by over 15 years. McIntyre later wrote about former cop turned PI Jerry Mooney under the pseudonym Kerry O’Neil. For more about McIntyre and a bibliography, see the GA Detection wiki here: http://gadetection.pbworks.com/w/page/7931047/McIntyre%2C%20John%20T
The Museum Murder (Doubleday, Doran & Co., 1929; Coachwhip, 2014) seems to be a stand-alone, which is unfortunate because I took a liking to its protagonist Duddington Pell Chalmers, a young man of wealth, social standing, and size. Called back to New York from his country place in Connecticut whence he had fled to escape the heat of August, he attends a meeting at a museum where he is a director.
The curator of the museum, who is universally unpleasant, called the meeting to gleefully tell a wealthy donor in front of witnesses that his most recent gift is fraudulent. The curator and the donor have had a long-running series of skirmishes but this was the worst by far, and the donor is deeply angry. Hours later, the curator is found stabbed to death. The police focus their attention on a young painter who was in the vicinity, despite the many others who had ample cause to dislike the victim.
Chalmers considers the suspect a friend and does not see how he could have committed the crime. He insists on staying at the museum in his role of board member while witnesses are interviewed to protect him. Discouraged by the investigating officer’s single-mindedness, Chalmers decides that he will have to find the real culprit. The officer in charge accepts his suggestions with an air of superior amusement but there is no real antagonism between them.
A competent mystery set in the art world of the 1920s. The plot structure is serviceable as opposed to stylish. No character development to speak of, as was typical of the time; the characters were clearly divided between the appealing and the repellent. The protagonist is an agreeable version of the rich young dilettante who outwits the police, so common during the early part of the 20th century. In Chalmers’ case, however, unlike Vance, Wimsey, and Campion, investigation is not his chosen career. An amusing read. For students and followers of classic crime fiction.