' Kate Winkler Dawson is an unbelievable crime historian and such a talented storyteller. ' Karen Kilgariff, cohost of the My Favorite Murder podcast 'Heinrich changed criminal investigations forever, and anyone fascinated by the myriad detective series and TV shows about forensics will want to read [this].' The Washington Post 'An entertaining, absorbing combination of biography and true crime.' Kirkus ' Kate Winkler Dawson has researched both her subject and his cases so meticulously that her reconstructions and descriptions made me feel part of the action rather than just a reader and bystander. She has brought to life Edward Oscar Heinrich's character, determination, and skill so vividly that one is left bemused that this man is so little known to most of us. ' Patricia Wiltshire, author of Traces and The Nature of Life and Death Berkeley, California, 1933. In a lab filled with curiosities – beakers, microscopes, Bunsen burners and hundreds of books – sat an investigator who would go on to crack at least 2,000 cases in his 40-year career. Known as the 'American Sherlock Holmes', Edward Oscar Heinrich was one of the greatest – and first – forensic scientists, with an uncanny knack for finding clues, establishing evidence and deducing answers with a skill that seemed almost supernatural. Based on years of research and thousands of never-before-published primary source materials, American Sherlock is a true-crime account capturing the life of the man who spearheaded the invention of a myriad of new forensic tools, including blood-spatter analysis, ballistics, lie-detector tests and the use of fingerprints as courtroom evidence.

After serving as a missionary and then foreign advisor to Qing officials from 1887 to 1911, John Ferguson became a leading dealer of Chinese art, providing the Metropolitan Museum of Art, the Cleveland Museum of Art, and other museums with their inaugural collections of paintings and bronzes. In multiple publications dating to the 1920s and 1930s, Ferguson made the controversial claim that China’s autochthonous culture was the basis of Chinese art. His two Chinese language reference works, still in use today, were produced with essential help from Chinese scholars. Emulating these “men of culture” with whom he lived and worked in Peking, Ferguson gathered paintings, bronzes, rubbings, and other artifacts. In 1934, he donated this group of over one thousand objects to Nanjing University, the school he had helped to found as a young missionary. This work offers a significant contribution to the history of Chinese art collection. John Ferguson learned from and worked with Qing dynasty collectors and scholars, and then Republican-era dealers and archeologists, while simultaneously supplying the objects he had come to know as Chinese art to American museums and individuals. He is an ideal subject to help us see the interconnections between increased Western interest in Chinese art and archeology in the modern era, and cultural change taking place in China.