Chess Problem Gems (Gnv64)

CHESS PROBLEM GEMS
BY EIGHT EMINENT AMERICAN COMPOSERS
Kenneth S. Howard
DOVER PUBLICATIONS, INC.

NEW YORK
Copyright 1972 by Dover Publications, Inc.

A l l rights reserved under P a n A m e r i c a n and International C o p y r i g h t Conventions.
Published in C a n a d a by G e n e r a l Publishing C o m p a n y , L t d . , 30 Lesmill R o a d , Don Mills, Toronto,

Ontario.
Published in the United K i n g d o m by Constable and
C o m p a n y , L t d . , 1 0 O r a n g e Street, L o n d o n W C 2 .
Chess Problem Gems by Eight Eminent American Composers

is a new work, first published by D o v e r Publications,
Inc., in 1 9 7 2 .
International Standard Book Number:

0-486-22166-0
Library of Congress Catalog Card Number:
Jg-i8g348
M a n u f a c t u r e d in the United States of A m e r i c a
D o v e r Publications, Inc.
180 V a r i c k Street
New York, N . Y . 10014
Contents
page
Eight Eminent Composers
T h e Problemist's Vocabulary
Notation
E u g e n e B. C o o k
11
Samuel Loyd
16
William Meredith
32
George E. Carpenter
41
William A. Shinkman
48
D. J. Densmore
64
Henry Wald Bettman
72
Otto Wurzburg
85
FEW chess e n t h u s i a s t s t o d a y m a y b e f a m i l i a r w i t h m u c h o f t h e
outstanding work of the early A m e r i c a n p r o b l e m composers.
T h i s p r i m a r i l y is because no collections of their p r o b l e m s a r e
currently in print a n d they are only to be found in books t h a t
occasionally m a y be secured in the secondhand market. A
single e x c e p t i o n i s t h a t o f s o m e o f S a m L o y d ' s c o m p o s i t ions.
So the present volume reproduces typical examples of the
work of eight of the most e m i n e n t of these problemists whose
c o m p o s i n g c a r e e r s d a t e d f r o m t h e last c e n t u r y .
W h i l e E u g e n e B. Cook a n d S a m u e l L o y d were the earliest of
t h e m o r e p r o m i n e n t p i o n e e r s , t h e y w e r e f o l l o w e d closely b y
George E. Carpenter and William A. Shinkman. Although
W i l l i a m M e r e d i t h w a s b o r n b e f o r e L o y d , his p r o b l e m s o n l y
b e g a n t o b e p u b l i s h e d i n t h e e i g h t e e n - s e v e n t i e s a n d his w o r k
did not attract a n y widespread attention until years afterward.
D a r s o J . D e n s m o r e b e c a m e n o t e d f o r his s t r a t e g i c p r o b l e m s ,
especially for those f e a t u r i n g black interferences. T h e c o m p o s i n g
activities o f H e n r y W a l d B e t t m a n a n d o f O t t o W u r z b u r g c o n tinued far into the present century. While other early composers
published m a n y fine problems, they did not become as prominent.
P r i o r t o t h e m i d d l e o f t h e last c e n t u r y t h e r e w a s o n l y a m i n i m u m o f chess a c t i v i t y i n this c o u n t r y a n d a s t h e r e w e r e n o chess
m a g a z i n e s , n o r chess c o l u m n s i n n e w s p a p e r s , t h e r e w a s l i t t l e
incentive for p r o b l e m composition, since it was only in foreign
periodicals that problems might be published.
T h e e a r l i e s t A m e r i c a n chess c o l u m n w a s o n e e d i t e d b y
C h a r l e s H e n r y S t a n l e y in The Spirit of the Times, in N e w Y o r k ,
the first problem published being one of Stanley's own that was
p r i n t e d i n n o t a t i o n i n t h e M a r c h 1 , 1845 issue. T h e f i r s t m a g a z i n e , The Chess Palladium, w a s issued by N a p o l e o n M a r a c h e in
14
Chess Problem. Gems
1846, a n d a s e c o n d , t h e American Chess Magazine, a p p e a r e d in

1847. B o t h , h o w e v e r , h a d s h o r t lives.
A g r e a t chess a w a k e n i n g i n this c o u n t r y c a m e w i t h t h e a d v e n t
o f P a u l M o r p h y ' s exploits, w h i c h b e g a n i n t h e l a t e r e i g h t e e n fifties and aroused so m u c h national enthusiasm that m a n y
n e w s p a p e r s b e g a n t o c a r r y chess c o l u m n s . T h i s n a t u r a l l y led t o
a s t e a d i l y i n c r e a s i n g i n t e r e s t in p r o b l e m s .
T h e birth of American problem-book literature dates f r o m
t h e f o l l o w i n g d e c a d e . I n 1859 C o o k a n d L o y d p l a n n e d t o issue
a collection of a t h o u s a n d p r o b l e m s by A m e r i c a n composers. It
w a s n o t u n t i l 1868, h o w e v e r , t h a t w i t h t h e c o o p e r a t i o n o f
William R. H e n r y a n d Charles A. Gilberg, the book was p u b l i s h e d u n d e r t h e title of American Chess Nuts, c o n t a i n i n g 2 4 0 6
problems, of w h i c h 353 were by Loyd, 326 by Cook a n d 64 by
Carpenter.
I n 1881 L o y d p u b l i s h e d his Chess Strategy, " a t r e a t i s e o n
chess p r o b l e m s , " i l l u s t r a t e d w i t h m a n y o f h i s c o m p o s i t i o n s . T h e
second section of the sixteenth v o l u m e of Alain W h i t e ' s
Christmas Series, e n t i t l e d Sam Loyd and his Chess Problems, issued
in 1913, is a r e v i s i o n of t h e Strategy, b a s e d on m a t e r i a l left by
L o y d a t his d e a t h , a n d h a s o v e r 5 0 0 o f h i s p r o b l e m s . T h i s
v o l u m e fortunately is n o w available in a p a p e r b a c k reprint.
In 1916 100 Chess Problems by William Meredith w a s p u b l i s h e d
as t h e t w e n t y - s e c o n d v o l u m e of t h e Christmas Series, a n d in 1920
A Memorial to D, J. Densmore, c o n t a i n i n g a c o l l e c t i o n of D e n s m o r e ' s p r o b l e m s , a s t h e t w e n t y - s i x t h v o l u m e . T h e n The Golden
Argosy, a c o l l e c t i o n of 6 0 0 of S h i n k m a n ' s p r o b l e m s , t h e t h i r t y s e v e n t h v o l u m e of t h e Christmas Series, a p p e a r e d in 1929.
Orestes A. Brownson, J r . , w h o founded a n d edited the
Dubuque Chess Journal, p u b l i s h e d a c o l l e c t i o n of 2 0 0 of C a r p e n t e r ' s
p r o b l e m s i n 1875, w i t h t h r e e l a t e r e d i t i o n s . N u m a P r e t i o f P a r i s
also b r o u g h t o u t a c o l l e c t i o n o f 2 0 0 o f C a r p e n t e r ' s p r o b l e m s i n
1901. I n 1926 D r . H . K e i d a n z p u b l i s h e d a c o l l e c t i o n o f all o f
Cook's k n o w n compositions, some 650 positions.
All o f t h e s e b o o k s w e r e issued i n c o m p a r a t i v e l y l i m i t e d
editions a n d , as previously m e n t i o n e d , only a selection of L o y d ' s
p r o b l e m s is readily o b t a i n a b l e at present. No collections of the
problems of Dr. Henry Wald Bettman nor of Otto W u r z b u r g
have as yet been published.
S o t h e a u t h o r believes t h a t t h e selections i n this v o l u m e w i l l

b e w e l c o m e d b y all w h o m a y b e i n t e r e s t e d i n e a r l y o u t s t a n d i n g
c o m p o s i t i o n s i n t h e A m e r i c a n chess p r o b l e m field.
Since some readers m a y not be familiar with various terms
u s e d b y p r o b l e m i s t s , m a n y o f t h e m o r e c o m m o n o n e s a r e exp l a i n e d in t h e next section.
The Problemist's Vocabulary
T H E BASIC d i s t i n c t i o n b e t w e e n a c o m p o s e d endgame a n d a problem i s t h a t i n t h e f o r m e r W h i t e h a s a n i n d e f i n i t e n u m b e r o f

moves in which to w i n o r d r a w a g a i n s t a superior or equal
black force, w h e r e a s in a p r o b l e m W h i t e m u s t m a t e Black in a
definite n u m b e r of moves.
I n a c o n v e n t i o n a l chess p r o b l e m W h i t e m o v e s f i r s t a n d m a t e s
Black in a stipulated n u m b e r of moves, the correct first m o v e
f o r W h i t e b e i n g t e r m e d t h e keymove o r key. T h e r e a r e o n l y t w o
conventions that must be observed in composing a problem.
T h e first is t h a t the position must be one w h i c h could be r e a c h e d
in actual play however u n n a t u r a l it m a y a p p e a r . In fact, the
positions in p r o b l e m s never w o u l d be likely to o c c u r in a g a m e .
T h e second convention is that there must be only one first move
t h a t w i l l solve t h e p r o b l e m . S h o u l d i t b e d i s c o v e r e d t h a t a p r o b l e m m a y be solved by m o r e t h a n o n e first m o v e it is said to be
unsound a n d i s v a l u e l e s s . T h e u n i n t e n d e d f i r s t m o v e i s c a l l e d a
cook.
W h i l e a n y m o v e m a y be employed as a key, in m o d e r n problems a check, c a p t u r e of a black m a n , m o v e of a w h i t e piece
f r o m an out-of-play to a m o r e active position, a m o v e t h a t restricts B l a c k ' s p l a y , o r a n y o t h e r a g g r e s s i v e m o v e , i s c o n s i d e r e d
o b j e c t i o n a b l e as a k e y m o v e . A p l a u s i b l e - a p p e a r i n g first m o v e
against w h i c h Black m a y d e f e n d by p e r h a p s only a single d e f e n sive m o v e is c a l l e d a try.
W h e n the keymove directly threatens m a t e in the stipulated
n u m b e r of m o v e s t h e p r o b l e m is a threat problem. L i n e s of p l a y
w h e r e defensive moves by Black defeat the threat b u t allow
W h i t e t o m a t e i n o t h e r w a y s a r e t e r m e d variations.
In a waiting-move problem m a t e is n o t t h r e a t e n e d by t h e k e y m o v e w h i c h , h o w e v e r , sets u p a p o s i t i o n w h e r e a n y b l a c k m o v e
will w e a k e n t h e d e f e n s e a n d a l l o w W h i t e t o m a t e B l a c k i s i n
zugzwang. W a i t i n g - m o v e p r o b l e m s a r e s u b d i v i d e d i n t o complete
4
block a n d incomplete block p o s i t i o n s . In t h e i n i t i a l p o s i t i o n of a

c o m p l e t e block a m a t i n g c o n t i n u a t i o n is providedset being
the technical t e r m f o r a n y m o v e t h a t Black c a n m a k e a n d
W h i t e h a s o n l y t o m a k e a m o v e w h i c h will n o t a l t e r s u c h a n
a r r a n g e m e n t . In an incomplete block there m a y be one or
s e v e r a l p o s s i b l e m o v e s b y B l a c k f o r w h i c h m a t e s a r e n o t set a n d
the key must provide mates for such moves.
W h e r e the keymove in a complete block problem changes
s o m e o f t h e set m a t e s t o o t h e r m a t e s t h e p r o b l e m i s t e r m e d a
mutate. W h e r e t h e k e y m o v e p e r m i t s B l a c k t o m a k e d e f e n s i v e
moves t h a t lead to m o r e m a t i n g positions t h a n those in the
i n i t i a l s e t t i n g it is an added mate p r o b l e m .
T h e n t h e r e are complete block positions w h i c h c a n n o t b e
solved b y a w a i t i n g - m o v e key, b u t i n w h i c h W h i t e m u s t m a k e
a k e y m o v e t h a t t h r e a t e n s m a t e d i r e c t l y . S u c h a p r o b l e m is a
block-threat.
T h e s q u a r e u p o n which a king stands a n d those i m m e d i a t e l y
a d j a c e n t t o i t c o n s t i t u t e t h e king's f i e l d ; n i n e s q u a r e s i f t h e k i n g
is not at an edge of the b o a r d .
If w h e n the black king is m a t e d each of the squares in the
king's field are g u a r d e d by only o n e w h i t e m a n or blocked by a
b l a c k m a n it is a pure mate. T h e o n l y e x c e p t i o n to this is w h e r e
a black m a n t h a t occupies an a d j a c e n t square is pinned a n d could
p r e v e n t t h e m a t e i f i t w e r e n o t p i n n e d . S u c h a m a t e m i g h t also
b e c o n s i d e r e d p u r e . I n s u c h a s i t u a t i o n t h e m a t e i s also t e r m e d
a pin-mate.
A model mate is a p u r e m a t e w h e r e all t h e w h i t e m e n on t h e
board, with the optional exception of the king and pawns, take
part. S o m e purists, however, hold t h a t a n y white p a w n e m ployed must g u a r d one of the squares in the black king's field
for the m a t e to be a model.
W h e r e the black king when m a t e d is not at an edge of the
b o a r d a n d there are no other m e n on the eight adjacent squares
in t h e k i n g ' s field it is a mirror mate. T h e t e r m is c o m m o n l y
a p p l i e d o n l y w h e n t h e m a t e i s also a p u r e o n e . A l t h o u g h a f e w
problemists h a v e composed positions primarily to feature
mirror mates, they are of infrequent occurrence.
T h e i d e a o r m a n e u v e r w h i c h a p r o b l e m i s expressly c o m p o s e d
to i l l u s t r a t e is t e r m e d t h e mainplay or thematic play. All o t h e r c o n tinuations, b r o u g h t a b o u t by various black defensive moves, arc
14
Chess Problem. Gems
t e r m e d byplay o r v a r i a t i o n s . W h e r e b e c a u s e o f s o m e b l a c k m o v e
W h i t e h a s a c h o i c e of m a t i n g m o v e s it is a dual a n d in t h e case
of three-move or four-move problems a choice of m a t i n g cont i n u a t i o n s is t e r m e d a dual continuation.
A major dual is o n e w h e r e W h i t e h a s a c h o i c e of lines of p l a y
or m a t i n g moves none of which he is forced to adopt by any of
Black's defensive moves. Such duals are particularly objectionable if they occur in the thematic or m a i n p l a y of the problem.
In a minor dual W h i t e h a s a c h o i c e of c o n t i n u a t i o n s f o l l o w i n g
indifferent black moves while Black m a y m a k e certain moves
w h i c h c o m p e l W h i t e t o m a k e a single d e f i n i t e c o n t i n u a t i o n .
D u a l s o c c u r r i n g i n u n t h e m a t i c o r s e c o n d a r y lines o f p l a y a r e
also s o m e t i m e s c a l l e d m i n o r d u a l s . I n s o m e cases s u c h a d u a l
might be avoided merely by the addition of a black p a w n ,
which m a n y composers, however, would prefer not to a d d to
eliminate an insignificant dual.
T h e repetition of a similar type of position in two or m o r e
m a t e s i s k n o w n a s a n echo. W h e r e t h e b l a c k k i n g s t a n d s o n
s q u a r e s of t h e s a m e c o l o r w h e n m a t e d it is a monochrome echo. If
he stands on a white square in one m a t e a n d on a black square
in a n o t h e r it is a chameleon echo.
L i k e w i s e w h e r e t h e c o n t i n u a t i o n s i n t w o o r m o r e lines o f p l a y
in three-move, four-move or longer problems are similar they
a r e said to echo each other.
W h e r e t h e r e i s a s q u a r e i n t h e b l a c k k i n g ' s field o n t o w h i c h
he can move, because it is not g u a r d e d by a white m a n nor
o c c u p i e d by a b l a c k o n e , it is c a l l e d a flight square. W h e r e t h e r e
is an u n g u a r d e d white m a n on such a square the black king's
m o v e o n t o it is t e r m e d a flight capture.
W h i l e i n a g a m e a m a n i s said t o b e p i n n e d n o t o n l y i f its
r e m o v a l w o u l d l e a v e its k i n g i n c h e c k , b u t i f i t w o u l d l e a v e a
m o r e i m p o r t a n t p i e c e u n d e r a t t a c k , i n a p r o b l e m t h e w o r d pin
is used only w h e r e the opposing king is on the line of pin.
If t h e p i n n e d m a n c a n move a l o n g the line of p i n n i n g it is
said t o b e line-pinned. T h u s a q u e e n c a n o n l y b e l i n e - p i n n e d
while a knight is always absolutely pinned. Both p i n n i n g a n d
u n p i n n i n g p l a y p r o m i n e n t roles i n m o d e r n p r o b l e m s .
W h e n t w o b l a c k m e n a r e o n a line b e t w e e n t h e b l a c k k i n g
a n d a l o n g - r a n g e w h i t e piece, w i t h n o o t h e r i n t e r v e n i n g m e n ,
it is t e r m e d a half-pin, since if e i t h e r b l a c k m a n m o v e s off t h e

l i n e its f e l l o w b e c o m e s p i n n e d .
A battery is an a r r a n g e m e n t of t w o m e n of t h e s a m e c o l o r
a l o n g a file, r a n k o r d i a g o n a l , w h e r e t h e r a n g e o f a r e a r p i e c e
q u e e n , r o o k or b i s h o p i s o b s t r u c t e d by a f r o n t or firing piece, a
m o v e o f w h i c h off t h e line m a k e s t h e p o w e r o f t h e r e a r p i e c e
e f f e c t i v e . A b i s h o p , as a f r o n t p i e c e , m a y o b s t r u c t a r o o k ' s
a c t i o n a l o n g a file or r a n k , w h i l e a r o o k m a y o b s t r u c t t h a t of a
b i s h o p o n a d i a g o n a l . A k n i g h t o r k i n g m a y serve a s t h e f i r i n g
p i e c e , a s also m a y a p a w n i n c e r t a i n p o s i t i o n s . T h e q u e e n , h o w ever, m a y only be employed as the rear piece of a battery.
W h e r e the r e a r piece is on a line with the black king it is
c a l l e d a direct battery; w h e r e it is on a l i n e w i t h a s q u a r e t h a t is
a d j a c e n t t o t h e o n e o n w h i c h t h e b l a c k k i n g s t a n d s i t i s a n indirect battery. W h e n a n i n d i r e c t b a t t e r y f i r e s , t h e f i r i n g p i e c e m a y
check the black king, while the r e a r piece g u a r d s o n e or m o r e
squares in the king's field. W h e r e the firing piece is the w h i t e
k i n g it is t e r m e d a royal battery.
W h e n a l o n g - r a n g e p i e c e i s m o v e d o n t o a line b e h i n d a n o t h e r
manespecially w h e r e the f o r m e r is a white piece a n d the latter
a b l a c k m a n s o t h a t i t m a y m o v e a l o n g , o r h a v e its g u a r d i n g
p o w e r b e c o m e effective, on t h a t line if the m a n in f r o n t moves
off t h e line, t h e m a n e u v e r i s t e r m e d a n ambush.
In a p r o b l e m in which Black is allowed to check the white king
by a long-range piecequeen, rook or bishopand W h i t e
counters by m o v i n g a m a n o n t o t h e line of check a n d simultaneously checks the black king either directly or by discovery,
it is a cross-check. W h e r e t h e w h i t e k i n g m o v e s o u t of t h e l i n e of
check a n d at the same time discovers check on the black king
f r o m a w h i t e p i e c e b e h i n d h i m it is a royal battery counter-check.
W h e r e the p o t e n t i a l moves of t w o l o n g - r a n g e pieces intersect
t h e s q u a r e on w h i c h t h e i n t e r s e c t i o n o c c u r s is c a l l e d a critical
square a n d w h e n e i t h e r p i e c e m o v e s o n t o t h a t s q u a r e i t c r e a t e s
a n interference w i t h t h e o t h e r p i e c e . W h e n a w h i t e p i e c e , s u c h a s
a b i s h o p , r e t r e a t s a l o n g a l i n e a c r o s s a c r i t i c a l s q u a r e to p e r m i t
a n o t h e r p i e c e , s u c h a s a q u e e n , t o m o v e o n t o t h e line a h e a d o f it,
it is an anticritical move. W h e r e a p i e c e m o v e s a r o u n d a n o t h e r
l o n g - r a n g e p i e c e to s u p p o r t it f r o m b e h i n d it is a pericritical
maneuver.
W h e r e a p r o b l e m i s c o m p o s e d t o s h o w t h e m a x i m u m possi-
IO
IO Chess Problem Gems
bilities o f s o m e m a n e u v e r , s u c h a s a w h i t e k n i g h t p l a y i n g t o
eight different squares, a c c o r d i n g to Black's defensive moves, to
d i s c o v e r m a t e , it is c a l l e d a task problem.
A p r o b l e m w i t h a t o t a l of s e v e n or f e w e r m e n is a miniature,
w h i l e o n e of t w e l v e or less is c a l l e d a Meredith, a l t h o u g h this
term ordinarily is only applied to two-move problems.
In a self-mate problem, or a suimate as it is also t e r m e d , i n s t e a d
of W h i t e m a t i n g Black the p r o c e d u r e is reversed a n d W h i t e
forces Black to m a t e t h e w h i t e king.
Notation
T H E chess n o t a t i o n i n t h e f o l l o w i n g t e x t a n d s o l u t i o n p a g e s i s
t e r m e d t h e algebraic, s o m e t i m e s also c a l l e d t h e Continental b e c a u s e o f its use i n c o n t i n e n t a l E u r o p e a n c o u n t r i e s . S i n c e i t i s
m o r e p r e c i s e t h a n t h e English n o t a t i o n i t i s m o r e g e n e r a l l y u s e d
in books on problems, such as the m a n y volumes in Alain White's
Christmas Series a n d also in t h e series of p r o b l e m b o o k s t h a t
F r a n k A l t s c h u l p r i n t e d a t his p r i v a t e O v e r b r o o k Press.
a b c d e
f g h
In the algebraic notation the location a n d moves of the m e n

a r e a l w a y s r e a d f r o m t h e w h i t e side o f t h e b o a r d , o r t h e l o w e r
side o f t h e d i a g r a m . T h e files a r e d e s i g n a t e d " a " t o " h " f r o m
left t o r i g h t a n d t h e r a n k s a r e n u m b e r e d " 1 " t o " 8 " r e a d i n g
upward.
In the ensuing sections the s a m e letters are e m p l o y e d to
denote the m e n as in the English notation, w i t h the exception
of S ( G e r m a n Springer) f o r k n i g h t . T h e s y m b o l x is u s e d f o r a
c a p t u r e a n d t h e s y m b o l ( ) for t h e p r o m o t i o n of a p a w n to a
piece, with a letter w i t h i n the parenthesis d e n o t i n g the piece
9
IO
Chess Problem Gems
t h a t is chosen. T h e symbol V (version), before the n a m e of a

p u b l i c a t i o n a b o v e a d i a g r a m , i n d i c a t e s t h a t t h e p o s i t i o n is a
revision of a p r o b l e m as originally p u b l i s h e d ; the s y m b o l
(quoted) indicates t h a t the p r o b l e m initially a p p e a r e d in some
other publication.
Eugene B. Cook
EUGENE BEAUHARNAIS COOK ( 1 8 3 0 - 1 9 1 5 ) , b o r n a d e c a d e b e f o r e

L o y d , s u b m i t t e d a p r o b l e m f o r p u b l i c a t i o n i n 1850 a n d c o m p o s e d his last p r o b l e m i n M a r c h , 1915, t h e y e a r o f his d e a t h . I n
1851 he h a d t h r e e p r o b l e m s p u b l i s h e d in t h e New York Albion,
a n t e d a t i n g L o y d ' s d e b u t b y f o u r y e a r s . O f his t o t a l o f six
h u n d r e d fifty compositions m a n y r e m a i n e d u n p u b l i s h e d a t t h e
t i m e o f his d e a t h .
M o s t o f his e a r l i e r p r o b l e m s w e r e c o m p o s e d a l o n g o l d f a s h i o n e d lines, m a n y o f t h e m w i t h a g g r e s s i v e keys, c h e c k s , c a p tures of black m e n , cutting off flight squares or bringing the key
p i e c e f r o m a n o u t - o f - p l a y p o s i t i o n . T h e n , f e w o f his p r o b l e m s
illustrated any complex strategy a n d where they did the
construction was often cumbersome. On the other h a n d , he
c o m p o s e d s o m e l i g h t w e i g h t p r o b l e m s w i t h e x c e l l e n t keys, a s
s h o w n in the a c c o m p a n y i n g selections.
I n N o . 1 , o n e o f his m o r e s t r a t e g i c c o m p o s i t i o n s , t h e k e y s u b mits the white king to a double check, with another check on
Black's second move. This p r o b l e m should be c o m p a r e d w i t h
Loyd's " S t e i n i t z G a m b i t " (No. 32), composed nearly half a
c e n t u r y later. In the initial position of N o . 1, however, there is
an u n p r o v i d e d check, 1
R x R ck, t h a t w o u l d b e f o l l o w e d
by a s e c o n d - m o v e c h e c k .
T h e brilliant key in No. 2, a l t h o u g h it threatens a short m a t e ,
leads to quiet moves in two continuations.
P r o b l e m N o . 3 is d e f i n i t e l y a s t r a t e g i c c o n c e p t i o n . W h i t e
m a k e s a w i t h d r a w a l w a i t i n g m o v e to lead to a block position
a n d then makes a sweeping second m o v e f r o m one end of a
d i a g o n a l t o t h e o t h e r , a n o t h e r w a i t i n g m o v e t h a t forces B l a c k
t o m o v e his k n i g h t .
T h e t h r e a t line in N o . 4, m a d e possible by a surprising key,
is s u p p l e m e n t e d by a q u e e n sacrifice variation w h e n Black
plays 1
Sf4, the ensuing m a t e b e i n g a model.
11
Chess Problem Gems
12
1
Eugene B. Cook
New Tork Albion
October 20, 1855
W h i t e mates in f o u r moves
The
Eugene B. Cook
Illustrated London News
January 5, 1856
W h i t e mates in three m o v e s
4
E u g e n e B. Cook
New Tork Albion
July 19, 1856
W h i t e self-mates in three moves
E u g e n e B. Cook
Winona
Republican
September 3, 1858
W h i t e mates in four moves
Eugene B. Cook
6
E u g e n e B. Cook
Boston Saturday Evening
Gazette
September 11, 1858
Eugene B. Cook
Philadelphia Daily Evening
Bulletin
April 12, 1862
W h i t e mates in three moves
7
V
E u g e n e B. Cook
American Chess Nuts
December 25, 1868
Eugene B. Cook
The Compositions of E. B. Cook
[Dr. H. Keidanz)
1927
Chess Problem. Gems
14
I n t h e m i n i a t u r e , N o . 5 , f o l l o w i n g a g o o d k e y 1 P a 4 looks
m o r e p r o m i s i n g a t first g l a n c e t h e r e i s a n e c h o o f a f a m i l i a r
m a t i n g position. T h e point of the keymove appears w h e n Black
plays 1
Kb5.
T h e w e l l - h i d d e n w a i t i n g - m o v e key in N o . 6 is followed by
further waiting moves on White's third turn, but as in so m a n y
of Cook's lightweight compositions Black has a p a u c i t y of
defensive play.
W h e n N o . 7 w a s p r i n t e d in American Chess Nuts W h i t e ' s
queen's rook was placed on the c3 square, which allowed a cook
by 1 R f 3 - e 3 , P e 4 ; 2 R b 3 , K c 4 ; 3 K e 5 a n d 4 Re3-c3, or
2
Kc5; 3 RxP, Kc6; 4 Rc4.
W h i l e as D r . K e i d a n z c o m m e n t e d in The Chess Compositions of
E. B. Cook, t h e k e y to N o . 8 is " o b v i o u s , " t h e c o n t i n u a t i o n s a r e
attractive, two of them ending in model mates.
S O L U T I O N S
No. 1
1 K e 2 threat 2 B f 4 ck, K x B f 4 ; 3 Q d 2 ck, K e 5 ; 4 Q d 6
R x Q , d b l ck; 2 K f 3 , Be2 c k ; 3 K e 3 , a n y ; 4 B f 4
R b 4 dis c k ; 2 K f 3 , Be2 c k ; 3 Q x B , R x S ; 4 Bf4
R b 7 dis c k ; 2 K e 3 , R x S ; 3 Pc4 dis ck, K x B ; 4 Q x P f 6
No. 2
1 Q h 6 , P x Q . ; 2 BxP ck, B f 6 ; 3 BxB
B x Q ; 2 BxP, a n y ; 3 BxP
B f 6 ; 2 Be7, PxQ,; 3 BxB
B any; 3 QxPg7
No. 3
1 Bb8, P h 6 ; 2 Bh2, S a n y ; 3 Sg3(x) ck, K e 5 ; 4 Se2 dis ck,
K f 5 ; 5 Sd4
K f 4 ; 4 Sfl dis ck,
K f 5 ; 5 Se3
No. 4
1 K h 2 threat 2 Q g l ( x ) , a n y ; 3 Q a l
S f 4 ; 2 Q x S e 3 ck, K x Q ; 3 R c 2
Eugene B. Cook
No. 5
1 P a 3 , K d 6 ; 2 Sb8, P d 2 ; 3 Q e 5
Kc5, d5; 3 Q c 6
K d 5 ; 2 Q e 5 ck etc.
K c 7 ; 2 S b 8 etc.
K b 5 ; 2 Sd7-e5 dis ck, K a 5 ; 3 Sc4
No. 6
1 Pb5, P b 6 ; 2 Sc6 ck, K d 5 ; 3 Bg8, K c 4 ; 4BxP
K f 5 ; 3 K f 3 , P e 5 ; 4 Se7
No. 7
1 R c 8 , K e 4 ; 2 R g 3 , K f 4 ; 3 Rc8-g8, a n y ; 4 R g 8 - g 4
K d 4 ; 3 Rg3-c3, a n y ; 4 Rc8-c4
P e 4 ; 2 R f 3 - c 3 etc.
No. 8
1 Se5, K x R ; 2 K x P g 6 , P h 5 ; 3 K h 6 , P x B ; 4 Sg6
K f 4 ; 2 BxPe6 dis ck, K x S ; 3 K e 7 , a n y ; 4 P d 4
P h 5 ; 2 B f 3 , K x R ; 3 K f 6 , P g 5 ; 4 Sg6
K h 6 ; 3 SxP, a n y ; 4 R x P h 5
K f 5 ; 3 SxP, a n y ; 4 R x P h 5
Samuel Loyd
SAMUEL LOYD ( 1 8 4 1 - 1 9 1 1 ) w a s a n o u t s t a n d i n g p i o n e e r i n
illustrating p r o b l e m themes, a n d t h e u n u s u a l settings, spect a c u l a r keys a n d s u b t l e c o n t i n u a t i o n s o f s o m a n y o f his c o m positions gave h i m worldwide f a m e a n d m a d e h i m one of t h e
m o s t u n i v e r s a l l y f a v o r i t e c o m p o s e r s i n chess p r o b l e m h i s t o r y .
H e b e g a n c o m p o s i n g w h e n o n l y f o u r t e e n , his first p u b l i s h e d
p r o b l e m a p p e a r i n g in The New York Saturday Courier on A p r i l 14,
1855. T h e n e x t h a l f - d o z e n y e a r s , d u r i n g w h i c h m a n y o f his m o s t
n o t a b l e p r o b l e m s w e r e p u b l i s h e d , w a s his m o s t p r o l i f i c p e r i o d .
T h e n a f t e r a c o m p a r a t i v e lull f o r a c o u p l e o f d e c a d e s , d u r i n g
which he composed infrequently, he again became active in the
p r o b l e m field for a short t i m e in t h e latter eighteen-seventies,
after which he composed only occasionally, No. 32 being one
o f his l a s t m a j o r p r o d u c t i o n s .
S a m Loyd, as he is popularly known, was the pioneer in the
i l l u s t r a t i o n o f t h e m e s w h i c h i n s o m e cases b e a r t h e n a m e s o f
other problemists. He composed the first example of w h a t c a m e
t o b e k n o w n a s t h e Plachutta interference, n a m e d a f t e r a p r o b l e m
b y J o s e p h P l a c h u t t a (d. 1883) t h a t w a s p u b l i s h e d s o m e t i m e
l a t e r . H e also p u b l i s h e d i n O c t o b e r , 1856, t h e f i r s t s o u n d v e r s i o n o f w h a t i s n o w t e r m e d Turton doubling, w h i c h H e n r y T u r t o n
h a d s h o w n a f e w m o n t h s p r e v i o u s l y in a p r o b l e m in The
Illustrated London News t h a t w a s f o u n d to be u n s o u n d .
I n c o m p o s i n g the f a m o u s N o . 9 , t h e q u e e n sacrifice u n d o u b t edly was Loyd's kernel idea, b u t the quiet continuations after
1
Kh3 and 1
K f 3 are excellent. In earlier days checking
keys, i f t h e c o n t i n u a t i o n s w e r e s u f f i c i e n t l y s u b t l e , w e r e n o t c o n sidered objectionable, as they are today.
N o . 1 0 i s a n e a r l y e x a m p l e o f w h a t H . G . M . W e e n i n k (1892
1921) t e r m e d C o u n t e r - B r i s t o l in his Het Schaakprobleem: Ideen en
Scholen (The Chess Problem, p a g e 178), b e c a u s e its c l e a r a n c e
m o v e is in the opposite direction to t h a t of t h e key piece in t h e
16
Samuel Loyd
27
10
Samuel Loyd
First Prize
Chess Monthly
1857
Samuel Loyd
Cincinnati
Dispatch
September 5, 1858
11
12
Samuel Loyd
Philadelphia Evening Bulletin
1858
Samuel Loyd
Chess Monthly
April, 1859
14
Chess Problem. Gems
f a m o u s first p r i z e w i n n e r b y F r a n k H e a l e y ( 1 8 2 8 - 1 9 0 6 ) i n t h e
Bristol t o u r n e y of 1861, w h i c h g a v e t h e n a m e of t h e Bristol theme
to that type of clearance. T h e publication of No. 10 actually
a n t e d a t e d that of Healey's p r o b l e m by over two years. H e r e
again Loyd was the pioneer in illustrating a theme.
T h e w a i t i n g - m o v e p r o b l e m N o . 11 is initially a b e a u t i f u l
e x a m p l e of a m b u s h i n g , the w h i t e q u e e n a m b u s h i n g herself
b e h i n d t w o b l a c k pieces. A f t e r t h e k e y m o v e t h e p r o b l e m illust r a t e s focal action, d o u b l e d . T h e b l a c k q u e e n g u a r d s b 6 a n d h i ,
a n d t h e b l a c k r o o k p r o t e c t s a 8 a n d e3. S u c h p a i r s o f s q u a r e s
w e r e t e r m e d foci b y t h e c o m p o s e r B a r o n W a l t h e r v o n H o l z h a u s e n ( 1 8 7 6 - 1 9 3 5 ) in a b o o k l e t e n t i t l e d Brennpunktprobleme,
f i r s t p u b l i s h e d i n 1908 a n d t h e n a g a i n i n 1926 i n a n e n l a r g e d
edition. A n y m o v e of the d e f e n d i n g black piece takes the g u a r d
off o f o n e o r t h e o t h e r o f t h e s e f o c a l s q u a r e s . I n N o . 1 1 i f t h e
black q u e e n moves u p the f i l e a n d clears the f i r s t rank, W h i t e
m a t e s b y 2 Q h l ; i f she m o v e s a l o n g t h e r a n k W h i t e m a t e s b y
2 S x P b 6 . If the rook moves along the r a n k a n d opens t h e a-file
White mates by 2 Q a 8 ; if the rook moves along the file W h i t e
m a t e s b y 2 S x P e 3 . A s W e e n i n k states, this t h e m e w a s f i r s t s h o w n
in a p r o b l e m by C. Stanley, of t h e Brighton Chess C l u b , t h a t
w a s p u b l i s h e d in The Illustrated London News on O c t o b e r 6, 1849,
in w h a t is k n o w n as the English Transition Period.
P r o b l e m N o . 12, w h e r e o n l y t h e k i n g a n d r o o k s a r e t h e w h i t e
p r o t a g o n i s t s , is a o n e - l i n e a f f a i r in w h i c h Black is f o r c e d to
c o m m i t suicide.
T h e q u a d r u p l i n g o f t h e Grimshaw interference, t h e m u t u a l i n terference between a black rook a n d a black bishop, n a m e d after
its i l l u s t r a t i o n i n a p r o b l e m b y W a l t e r G r i m s h a w ( 1 8 3 2 - 1 8 9 0 )
p u b l i s h e d in The Illustrated London News in 1850, w a s first s h o w n
b y L o y d w h e n h e w a s s i x t e e n a n d w a s a n o t h e r o f his p i o n e e r
achievements. It was d u b b e d by a G e r m a n c o m m e n t a t o r the
" O r g a n Pipes," because of the a r r a n g e m e n t of the bishops a n d
the rooks. L o y d showed it first in a t h r e e - m o v e setting, b u t it is
essentially a t w o - m o v e t h e m e . S o L o y d l a t e r l o p p e d off t h e u n t h e m a t i c f i r s t m o v e a n d p r e s e n t e d i t a s a t w o - m o v e r i n N o . 13.
I n N o . 1 4 t h e w h i t e k i n g steps o n t o a s q u a r e w h e r e h e i s s u b j e c t to a discovered check. C o m p a r e this w i t h p r o b l e m N o . 32
in which the white king submits himself to a double check.
In problem No. 15 a duel between the black rook a n d the
Samuel
13
Loyd
14
Samuel Loyd
V Boston Globe
1859
W h i t e mates in t w o moves
15
Samuel Loyd
Problem Tournament
Frank Leslie's
February 12, 1859
Frere's
16
Samuel Loyd
Chess Monthly
April, 1859
Samuel Loyd
V Lynn News
July 6, 1859
27
14
Chess Problem. Gems
t w o w h i t e ones, w i t h w a i t i n g - m o v e p l a y a n d a n o n e t o o a p p a r e n t key, is shown in a m i n i a t u r e setting. If Black h a d to

m o v e first t h e r e w o u l d b e a m a t e i n o n e o r i n t w o m o v e s .
No. 16 is an interesting study in p a w n promotions, where on
t h e s e c o n d o r o n t h e m a t i n g m o v e W h i t e chooses a q u e e n i n
f o u r lines o f p l a y a n d a k n i g h t i n f o u r lines. T h e i m m e d i a t e p r o m o t i o n o f t h e p a w n o n t h e e-file w o u l d s e e m a m u c h m o r e
likely k e y t h a n t h e a d v a n c e o f t h e r o o k ' s p a w n .
In No. 17 the bishop on h5 interferes with each of the black
rooks in t u r n , following the t h e m a t i c decoy of one or the other
rook to the f2 square to capture the white queen. A beautiful
feature of the problem is the symmetrical play of the W h i t e
k n i g h t s i n t h e t w o t h e m a t i c lines.
No. 18 is the famous "Excelsior P r o b l e m , " one of Loyd's
most fantastic compositions, with an extraordinary m a i n p l a y in
w h i c h B l a c k ' s series o f d e f e n d i n g m o v e s l e a d s t o a s u r p r i s i n g
d e n o u e m e n t . A c c o r d i n g to L o y d " i t was composed in a spirit of
fun and is a joke from beginning to end." He m a d e the problem
i n 1858 a t t h e M o r p h y C h e s s R o o m s a n d d e s c r i b e d h o w i t c a m e
to be composed in a letter to Alain W h i t e stating: " I t was q u i t e
a n i m p r o m p t u t o c a t c h old D e n n i s J u l i e n , t h e p r o b l e m i s t , w i t h .
He used to wager that he could analyse any position, so as to
tell w h i c h p i e c e t h e p r i n c i p a l m a t e w a s a c c o m p l i s h e d w i t h . S o
I o f f e r e d t o m a k e a p r o b l e m , w h i c h h e w a s t o a n a l y s e a n d tell
w h i c h p i e c e d i d n o t give t h e m a t e . H e a t o n c e s e l e c t e d t h e
Q u e e n ' s K n i g h t ' s P a w n a s t h e most i m p r o b a b l e piece, b u t t h e
s o l u t i o n will s h o w y o u w h i c h o f u s p a i d f o r t h e d i n n e r . "
A s W h i t e relates, the idea h a d a l r e a d y b e e n shown b y R o b e r t
B. W o r m a l d (1834-1876) a couple of years earlier. " W o r m a l d
c l a i m s a K n i g h t , w h i c h is p e r h a p s e v e n m o r e of a t r i c k ; b u t it is
also m o r e e v i d e n t , a s i t r e q u i r e s t h e p r e s e n c e o f t h e B l a c k K i n g
a t closer r a n g e . L o y d ' s p r o b l e m r e m a i n s t o this d a y t h e m o s t
surprising r e n d e r i n g of the t h e m e , because Black is r e q u i r e d to
m a k e s u c h u n e x p e c t e d m o v e s t o d e f e a t t h e series o f t h r e a t s a n d
so b r i n g a b o u t the m a i n p l a y . " Of course the n a m e of the t h e m e
was suggested by Longfellow's famous poem.
A s j u s t s h o w n i n N o . 18, L o y d d e l i g h t e d i n c o m p o s i n g p r o b l e m s w i t h t h e m o s t s e e m i n g l y u n l i k e l y keys, of w h i c h N o . 19 is
a s p a r k l i n g e x a m p l e . In The Theory of Pawn Promotion A l a i n
White comments: " L o y d has here shown w h a t is to me the most
27
Samuel Loyd
17
18
Samuel Loyd
V Cincinnati Gazette
November 24, 1859
Samuel Loyd
London Era
January 13, 1861
W h i t e mates in five moves
19
20
Samuel Loyd
La Strategic
June 15, 1867
Samuel Loyd
Second Prize Set
Paris Tourney
1867
14
Chess Problem. Gems
u n e x p e c t e d p r o m o t i o n key i n t h e w h o l e b o o k . T h e P a w n a p p a r e n t l y b o t t l e s itself u p , losing all o p p o r t u n i t y t o m o v e . T h e

whole setting is m a s t e r l y . "
U n l e s s a solver h a s t h o r o u g h l y a n a l y z e d t h e p o s i t i o n , t h e k e y
of No. 20disrupting the rook-bishop battery, apparently putting the king's bishop out of play a n d allowing an i m m e d i a t e
discovered check, to be followed by a second c h e c k w o u l d
seem to be the most preposterous sesame to lead to a solution in
four moves. Unquestionably it ranks as one of the most u n u s u a l
keys e v e r c o n c e i v e d .
Q u o t i n g W e e n i n k , N o . 2 0 " f o r m e d o n e o f a t o u r n e y set. T h i s
s y s t e m o f t o u r n e y c o m p e t i t i o n h a d its g o o d side i n t h a t i t m a d e
composers enter a n u m b e r of p r o b l e m s of different lengths, enc o u r a g i n g high average excellence. But the best individual p r o b l e m s o f t e n s u f f e r e d , a n d f i n e sets w e r e o f t e n d i s q u a l i f i e d b e c a u s e o f t h e u n s o u n d n e s s o f a single m e m b e r . " T h i s p r a c t i c e h a s
long since b e e n generally a b a n d o n e d , p r o b l e m s being e n t e r e d
o n a n i n d i v i d u a l basis i n m o s t m o d e r n t o u r n e y s .
C o m p o s e d i n D r e s d e n , w h e n L o y d w a s a b r o a d i n 1869, N o .
21 w o n high praise f r o m E u r o p e a n problemists a n d b e c a m e one
o f his m o s t f a m o u s p r o b l e m s . I t s b a s i c i d e a i s t h e s t r a t e g i c d u e l
between the white queen and the black bishop, b u t the graceful
setting has other points of interest. If Black h a d to m o v e first
W h i t e would be able to m a t e in two moves following any m o v e
of the bishop, other t h a n to f6; after 1
P g 3 a n d also a f t e r
1
P h 6 ; 2 S g 6 ck, K h 7 ; 3 P f 8 ( S !). T h e k e y c h a n g e s W h i t e ' s
s e c o n d - m o v e continuations after such moves by Black.
T h e m i n i a t u r e N o . 22 is an a m u s i n g example of Loyd's ingenuity. Following the p r o m o t i o n of the king's p a w n to a
k n i g h t a s t h e k e y m o v e , i n e a c h o f t h e t h r e e s u c c e e d i n g lines o f
p l a y W h i t e ' s s e c o n d m o v e m u s t also b e t h e p r o m o t i o n o f t h e
queen's p a w n to a knight.
N o . 23 is n o t a b l e f o r its fine k e y in so l i g h t a s e t t i n g , since at
first glance there w o u l d seem to be m o r e effective moves for the
q u e e n . T h e m o s t i n t e r e s t i n g c o n t i n u a t i o n follows 1
Bf3.
I n N o . 2 4 a n o t h e r w i t h d r a w a l k e y m o v e , w h i c h sets u p a
masked battery, leads to the pinning of the black knight if the
black king moves.
L o y d w a s f o n d o f l o n g - r a n g e k e y m o v e s , especially w h e r e t h e y
s e e m a i m l e s s , a s i n N o . 25. T h e s o l u t i o n o f this p r o b l e m i s m o s t
Samuel Loyd
21
27
22
Samuel Loyd
Leipziger Illustrirte
Zeitung
October 23, 1869
Samuel Loyd
Boston Globe
August 16, 1876
23
24
Samuel Loyd
Detroit Free Press
1877
Samuel Loyd
Centennial Problem Tourney
New York Clipper
1877
24
Chess Problem Gems
o b s c u r e , since i n t h e t h r e a t l i n e b o t h W h i t e ' s s e c o n d a n d t h i r d
m o v e s a r e quiet o n e s , a t e r m a p p l i e d to a m o v e t h a t is n o t a c h e c k
or a capture. T h e only second checking move is w h e n Black
plays 1
KxB.
Again in No. 26 Loyd employs an astonishing key t h a t seemi n g l y locks u p t h e w h i t e q u e e n . I t i s a w a i t i n g - m o v e c o m p o s i tion a n d the most spectacular continuation is where t h e black
king captures the knight, when White again moves the rook in
the reverse direction to a l , a Bristol-type clearance move. T h e
point of the keymove a p p e a r s w h e r e Black plays 1
Kf5,
w h e n the rook is needed on gl to support the knight's p a w n
after 2 Sf2, P x S ; 3 Pg4. It is u n f o r t u n a t e t h a t t h e rook
on b5 is r e q u i r e d only w h e n Black plays 1
KxS and
2 - - KxP.
L o y d ' s skill i n c o m p o s i n g p r o b l e m s w i t h a m i n i m a l n u m b e r
o f m e n i s s h o w n i n t h e m a n e u v e r i n g o f t h e pieces i n t h e d a i n t y
No. 27.
W h i l e in his Chess Strategy L o y d stressed t h e i m p o r t a n c e of
w h a t he termed "neatness of position," he enjoyed creating an
o c c a s i o n a l e x t r a v a g a n z a s u c h a s N o . 28, w h i c h h e d u b b e d " T h e
American I n d i a n , " apparently with reference to the Indian's
w a r p a t h t a c t i c o f a m b u s h i n g his e n e m y . A s A l a i n W h i t e e x p l a i n s in Sam Loyd and his Chess Problems, t h e p r o b l e m " w a s p u r posely posed t o b e puzzling, a n d t h e extra m e n p u t o n t h e b o a r d
w e r e i n t e n d e d t o m a k e t h e p o s i t i o n m o r e like o n e i n a c t u a l p l a y ,
s o a s t o e n t i c e p l a y e r s (to w h o m t h e k e y w o u l d b e e v e n m o r e i m p r o b a b l e t h a n t o solvers) t o t r y i t . " W h i t e also r e m a r k s : " T h e
long key m o v e required to give the m a t e , w h e n Black m a k e s
a correspondingly long m o v e in the opposite direction, has bec o m e f a m i l i a r t o solvers n o w - a - d a y s , a n d I d o n o t t h i n k L o y d ' s
p r o b l e m w o u l d prove nearly as difficult to-day as w h e n it was
composed."
T h e idea, however, was not original w i t h L o y d since B. G.
Laws (1861-1931) h a d already shown the theme in an orthogonal setting a n d conventional form in a p r o b l e m published in
1885. I n 1892, t h r e e y e a r s a f t e r t h e p u b l i c a t i o n o f N o . 28, L o y d
also s h o w e d t h e t h e m e i n a n o r t h o g o n a l s e t t i n g i n N o . 29, c o m p o s e d f o r a m e e t i n g o f t h e N e w Y o r k S t a t e Chess A s s o c i a t i o n ,
a s w a s his f r e q u e n t l y q u o t e d N o . 30, w i t h its a t t r a c t i v e w i t h d r a w a l key.
Samuel Loyd
25
25
26
Samuel Loyd
First Prize Set
American Chess and
Problem Association
1878
Samuel Loyd
Holyoke Transcript
1878
27
Samuel Loyd
Milwaukee Telegram
circa 1885
Samuel Loyd
New York Sunday Herald
1889
14
Chess Problem. Gems
No. 31 is typical of m a n y of the two-movers of the era in w h i c h

i t w a s c o m p o s e d . I t d o e s n o t h a v e a n y specific t h e m e o t h e r t h a n
a variety of battery mates, c o m b i n e d with black self-pinning
moves in two variations.
A g a i n q u o t i n g A l a i n W h i t e : " F e w e v e n t s d u r i n g t h e last t e n
y e a r s o f L o y d ' s life g a v e h i m a s m u c h p l e a s u r e a s his w i n n i n g
t h e first p r i z e i n t h e N o v e l t y T o u r n e y o f t h e little C a n a d i a n
m a g a z i n e Checkmate." T h e m o t t o u n d e r w h i c h L o y d e n t e r e d
N o . 32, " T h e S t e i n i t z G a m b i t , " w a s s u g g e s t e d b y t h e d i s t i n c tive m o v e i n t h a t chess o p e n i n g , 5 K e 2 , a n d t h e p r o b l e m h a s
c o m e t o b e u n i v e r s a l l y k n o w n b y t h a t m o t t o . I n 1855 C o o k
p u b l i s h e d a f o u r - m o v e r , N o . 1, w h e r e t h e w h i t e k i n g m a k e s a
k e y m o v e t h a t permits Black to give a d o u b l e check, b u t in the
initial position of Cook's p r o b l e m the white king w o u l d be
t h r e a t e n e d b y a series o f c h e c k s w e r e B l a c k t o h a v e t h e f i r s t
m o v e . I n N o . 3 2 t h e k i n g m o v e s f r o m a safe p o s i t i o n i n t o a p p a r e n t peril.
A h a l f c e n t u r y a g o , in his Memories of my Chess-Board, A l a i n
W h i t e wrote: " S a m Loyd has n o w been a n a m e to conjure with
f o r w e l l u p w a r d of fifty y e a r s . . . . He w a s t h e first r e a l c o m poser I k n e w ; a n d he remains the greatest I have ever k n o w n . "
T h e n in Sam Loyd and his Chess Problems W h i t e s t a t e d : " T h e
fates h a d given h i m in large m e a s u r e the e n d o w m e n t of genius.
H e c o u l d see a t a g l a n c e w h a t o t h e r p e o p l e c o u l d see, o r a t l e a s t
c o u l d b e m a d e t o see, v e r y slowly. H i s g e n i u s w a s n o t t h e p r o verbial infinite capacity for t a k i n g pains. It was r a t h e r an infinite capacity of concentration. Ideas c a m e to h i m with great
fecundity, often too rapidly for h i m to analyze t h e m completely.
Y e t his p o w e r s f o r r a p i d a n a l y s i s w e r e a l m o s t u n r i v a l l e d . H e
c o u l d see a n i d e a f r o m m a n y sides a t o n c e ; f i r s t a l w a y s f r o m
the point of view of a puzzle, then f r o m the h u m o r o u s standpoint, finally f r o m the artistic a s p e c t . "
Samuel Loyd
29
27
30
Samuel Loyd
New York State Chess
Association
February 22, 1892
Samuel Loyd
New York State Chess
Association
February 22, 1892
32
31
New
Samuel Loyd
York Commercial
Advertiser
1897
Samuel Loyd
First Prize
Novelty
Tourney
Checkmate
1903
14
Chess Problem. Gems
S O L U T I O N S
No. 9
1 Sg4 dis ck, K h l ; 2 Q h 2 ck, P x Q ; 3 S f 2
K h 3 ; 2 Sh2 threat 3 R h 8
SP any; 3 Q h 8
K f 3 ; 2 Qc2, Pg2; 3 Q d 3
K f l ; 2 Ra8, any; 3 R a l
N o . 10
1 Ba8 threat 2 Q b 7 a n d 3 Q h l
S any; 2 Qb6(x), any; 3 Q g l
Pf4; 2 Qg6, any; 3 Q g l
K f l ; 2 Q x P ck, K e l ; 3 Q f 2
No. 11
1 Q a l waiting
Q x Q ; 2 SxPb6
Q b 2 , b5; 2 Q h l
1 - - R x Q ; 2 SxPe3
Rb3, d3; 2 Q a 8
No. 12
1 R a 2 - f 2 , P a 4 ; 2 K d 2 , P a 3 ; 3 R a l , P a 2 ; 4 K e l , BxR c k ; 5 K x B
N o . 13
1 Q a 5 waiting
Bd7; 2 Q d 5
Be6; 2 Q e 5
Bb7, f 5 ; 2 Sf5(x)
R d 7 ; 2 Sf5
Rd6; 2 QxPb4
Rd5; 2 Q x R
1- - Re7;
Re6;
Re5;
Be7;
Bd6;
Bc5;
2
2
2
2
2
2
QxPb4
Sf5
QxRe5
Qe5
Qd5
Qal
No. 14
1 K c 2 , K x P dis ck; 2 Sc3, K c 4 ; 3 Q f 4
K else; 3 Q x R
K b 5 dis ck; 2 K b 3 , R c 3 c k ; 3 SxR
Rc2, c l ; 3 Q b 8
R d 5 ; 2 Sb2 ck, K d 4 ; 3 Q f 4
R else; 2 Sb2 ck, K b 5 ; 3 Q b 8
Samuel Loyd
29
N o . 15
1 R g 5 , R h l ; 2 Rg2, R h 3 ; 3 R x P
R else; 3 R h 2 ( x )
R g 2 , a 2 ; 2 R x P h 5 ck, K x R ; 3 R h 3
N o . 16
1 Pa7, P x P ; 2 P a 8 ( S ) , Sc5; 3 S b 3 x P
S d 6 ; 3 Sc4xPa5
S d 8 ; 3 PxS(S)
Pd6, d5; 3 P e 8 ( Q )
Sc5; 2 P a 8 ( Q ) ck, K c 7 ; 3 Pe8(S)
Sb7; 3 Q c 8
S d 6 ; 2 P a 8 ( Q ) ck, K c 7 ; 3 P x S
Pd6, d 5 ; 2 P e 8 ( Q ) ck, K c 7 ; 3 Pa8(S)
N o . 17
1 Q f 2 threat 2 Q x R f 4
R f 4 x Q ; 2 Se7 threat 3 Sc6
Bf3; 3 Sf5
R d 2 x Q ; 2 Sa3 threat 3 Sb5
Be2; 3 Sc2
B f 3 or S f 3 ; 2 Sa3
N o . 18
1 P b 4 threats 2 R d 5 a n d 2 R f 5
R c 5 ck; 2 P x R , P a 2 ; 3 Pc6, Bc7; 4 PxP, a n y ; 5 P x S ( Q )
R c 6 ; 2 R d 5 , R h 6 c k ; 3 K x R , Bg5 ck; 4 SxB, a n y ; 5 R d l
Bg5; 2 R f 5 , B f 4 ; 3 RxB, R c 5 c k ; 4 P x R , a n y ; 5 R f l
N o . 19
1 Pa8(B) K f 8 ; 2 P b 8 ( Q ) ck, K f 7 ; 3 Bd5
Ke8; 2 Ke6
Kg8; 2 Kg6
N o . 20
1 BxP threat 2 BxP threat 3 Q c 8 ck, Q x Q ; 4 B x Q
Q x B ck; 3 K x Q
PxB dis ck; 2 Pb7, Q e 6 ; 3 Q c 8
Q c 5 ; 2 Qe8, Q c 6 ; 3 QxQ.
Q c 2 ; 2 Be2, Q x B ; 3 Q c 8 ck
14
Chess Problem. Gems
N o . 21
1 Q f l , Ph6, h 5 ; 2 Q b l threat Q h 7
Pg6; 3 Q x B
Bb2; 2 Q b l
Bc3, d 4 ; 2 Q d 3
Be5, f 6 ; 2 Q f 5
P g 3 ; 2 Sg6 ck, P x S ; 3 Q h 3
N o . 22
1 Pe8(S) ck, K f 8 ; 2 Pd8(S), a n y ; 3 Sg6
K h 6 ; 2 Pd8(S), S a n y ; 3 Sd8-f7
KxSh8, 2 Pd8(S), S any; 3 Sf7
N o . 23
1 Q g 3 threat 2 Q g 8 threat 3 Q a 8
Ka6; 2 QxP
Ka4; 2 Qc3
Bb3, a 4 ; 2 Q x P ck
Bf3; 2 Q g 8
No. 24
1 Q a 6 waiting
K f 6 ; 2 Bd8
K h 6 ; 2 Be3
1 - - K g 4 ; 2 Rg7
S moves; 2 Bd8 or Be3
N o . 25
1 Q f 8 threat 2 SxP threat 3 SxP, K x S ; 4 Q b 4
K c 4 ; 2 SxP, K x P ; 3 S x P
K x S ; 3 Q c 5 ck
K x B ; 2 Sb4-c2 ck, K a 2 , b2, b 3 ; 3 Q a 3 ck
N o . 26
1 R g l waiting
KxS; 2 R a l , K e 4 ; 3 Q b l
KxP; 3 Q f l
K else; 3 Q d l
K f 5 ; 2 S f 2 , PxS; 3 Pg4
PxR(S); 3 Q h 5
P x R ( S ) ; 2 Sd3-c5 ck, K f 5 ; 3 Q h 5
N o . 27
1 R d 2 , Sgl c k ; 2 K g 3 , S h 3 ; 3 R e 2 , S g l ; 4 R x P
else; 4 R e l
Sf3; 3 KxS
Se2 ck; 3 R x S
Sc3; 2 R c 2 , Sa2, e 2 ; 3 R x S
Sdl; 3 Rcl
Samuel Loyd 29
N o . 28
1 B f 8 threat 2 Q a l
BxR; 2 B x Q
31
N o . 29
1 R a 6 threat 2 Q f l
RxB;2 RxR
KxB; 2 Rf6
SxB or P x B ; 2 Bg5
N o . 30
1 Q a l threat 2 Q e l
Ke4; 2 Q d 4
K else; 2 R g 2
N o . 31
1 Q h 7 waiting
S x Q ; 2 SxS
SxR; 2 Kg5
K x S ; 2 Sd3
1 - - S x S ck; 2 KxS
Se7 c k ; 2 Q x S
K e 5 ; 2 Sd3
N o . 32
1 K e 2 , P f l ( Q ) dbl c k ; 2 K e 3 , Q, B or R checks; 3 B or R
captures the checking piece
P f l ( S ) dis ck; 2 R f 2 dis ck; K x S ; 3 Bd3 or P d 3
K d 4 ; R f 4 dis ck, P e 5 ; 3 SxB
K x S ; 2 Bd3 ck, K d 4 ; 3 R f 4
Scl ck; 2 K e 3
R e 7 ; 2 R f 7 dis ck
William Meredith
WILLIAM MEREDITH ( 1 8 3 5 - 1 9 0 3 ) , a l t h o u g h b o r n s o m e y e a r s
before Loyd a n d Carpenter, apparently did not begin to comp o s e u n t i l his m i d d l e t w e n t i e s , his first p u b l i s h e d p r o b l e m o f
w h i c h t h e r e i s a n y r e c o r d a p p e a r i n g i n t h e O c t o b e r 7 , 1870,
issue of The Philadelphia Evening Bulletin.
H e d i d n o t b e c o m e p r o m i n e n t a s a c o m p o s e r d u r i n g his lifet i m e , p r i m a r i l y b e c a u s e a m a j o r i t y o f h i s t o t a l o f less t h a n t w o
h u n d r e d p r o b l e m s w e r e c o n t r i b u t e d t o a single p u b l i c a t i o n ,
O r e s t e s A. B r o w n s o n ' s Dubuque Chess Journal.
It was not until the era of the G o o d C o m p a n i o n Chess Probl e m C l u b , y e a r s a f t e r M e r e d i t h ' s d e a t h , t h a t his o u t s t a n d i n g
ability b e c a m e fully recognized. T h e G o o d C o m p a n i o n s m a d e
a sort of p a t r o n saint of h i m a n d , because of t h e e c o n o m y w i t h
w h i c h s o m a n y o f his p r o b l e m s w e r e c o n s t r u c t e d , t e r m e d t w o m o v e r s w i t h a t o t a l o f t w e l v e o r less m e n M e r e d i t h s a n d c o n d u c t e d special tourneys for such problems.
While Meredith's reputation has been based largely on the
e x c e l l e n c e o f his t w o - m o v e r s , . h e c o m p o s e d n o t a b l e t h r e e , f o u r
a n d f i v e - m o v e p r o b l e m s , a s s h o w n i n t h e a c c o m p a n y i n g selections.
N o . 3 3 i s s u p p o s e d t o h a v e b e e n t h e first p r o b l e m b y M e r e d i t h
p u b l i s h e d in t h e Dubuque Chess Journal. T h e r e is little, v a r i e t y in
t h e play, b u t the key is obscure a n d t h e g u a r d i n g of t h e e5 a n d
g5 squares in the m a t i n g positions in two different ways in the
t w o m a j o r lines h a s a p l e a s i n g e c h o i n g e f f e c t .
Again in No. 34 there is small variety in the play, b u t there
are echoed model mates in two of the three variations, one of
them being a mirror model.
At the time No. 35 appeared m u c h attention was being paid,
b e c a u s e o f E n g l i s h i n f l u e n c e s , t o p u r e m a t e s a n d all t h e m a t e s
i n this p r o b l e m w h e n B l a c k m a k e s e f f e c t i v e d e f e n s i v e m o v e s a r e
pure. On the other h a n d , the n u m e r o u s dual mates which
32
William
33
Meredith
34
William Meredith
Dubuque Chess Journal
August, 1871
William Meredith
Fifth Prize, Fourth Tourney
January,
1872
35
36
William Meredith
August, 1873
William Meredith
Maryland Chess Review
March, 1875
37
12
Chess Problem Gems
37
38
William Meredith
V
Westminster Papers
June, 1877
39
William Meredith
Brooklyn Chess Chronicle
August 15, 1885
William Meredith
Westminster
Papers
July, 1877
40
William Meredith
November, 1886
William
Meredith
35
follow indifferent black moves a p p a r e n t l y did not disturb

Meredith, although English composers went to great lengths to
avoid a n y such dual mates.
I n N o . 3 6 i t m a y p r o v e s o m e w h a t p u z z l i n g t o t h e solver t o
discover the zigzag route the white bishop must take to t h r e a t e n
mate from the d6 square.
P r o b l e m 37 is a highly strategic composition, t h e surprising
withdrawal keymove, leading to the formation of the knightbishop battery, being a n u n i q u e conception. T h e s e c o n d a r y line
of play, in which the white king submits to a check by the prom o t i o n of a black p a w n to a knight, adds to the c h a r m of the
p r o b l e m . It should be n o t e d t h a t the initial position is a c o m plete block. If Black h a d to m o v e first a n d played Pc4, p r e v e n t i n g Sc4, W h i t e c o u l d c o n t i n u e w i t h S d 7 , K g 4 ; B e 6 ck, K f 3 ;
Se5 !
I n N o . 38, a s i n N o . 37, a w i t h d r a w a l k e y l e a d s t o t h e f o r m a t i o n o f a b a t t e r y , i n this c a s e a c o m b i n e d d i r e c t a n d i n d i r e c t o n e ,
to m e e t B l a c k ' s 1
Pe4.
A n o t h e r striking w i t h d r a w a l key, characteristic of so m a n y of
M e r e d i t h ' s compositions, makes No. 39 a notable miniature, despite the lack of any variety in the play.
T h e k e y o f N o . 4 0 i s r e m a r k a b l e s t r a t e g i c a l l y b e c a u s e o f its
sixfold e f f e c t . P r i m a r i l y i t h a s t h e t w o f o l d e f f e c t o f i n d u c i n g a
Nowotny interference b e t w e e n t h e b l a c k r o o k a n d b i s h o p a n d a t
the same time it vacates the f4 square to allow the knight to
m o v e there to mate. A N o w o t n y interference, n a m e d from a
p r o b l e m p u b l i s h e d i n 1854 b y A n t o n N o w o t n y ( 1 8 2 9 - 1 8 7 1 ) ,
differs f r o m a G r i m s h a w interference in that in the N o w o t n y a
white m a n moves onto the square where the potential moves of
a black rook and a black bishop intersect. Whichever black piece
captures the obstructing w h i t e m a n interferes with the m o v e m e n t o f t h e o t h e r b l a c k p i e c e . T h e k e y m o v e o f N o . 4 0 also y i e l d s
a flight c a p t u r e to the black king, g u a r d s e7 a n d f8 if the king
makes the capture a n d then prevents the black queen from
capturing the checking bishop.
I n c o m m e n t i n g u p o n N o . 41, O t t o W u r z b u r g n o t e d t h a t
" T h e r e a r e n o less t h a n t w e n t y - s i x ' t r i e s ' t h a t a r e d e f e a t e d e a c h
by o n l y o n e m o v e of B l a c k . . . . T h i s is p r o b a b l y a r e c o r d seld o m a p p r o a c h e d . " T h e p r o b l e m is a complete block with two
a d d e d m a t e s m a d e possible b y the startling keymove.
Chess Problem Gems
36
41
42
William Meredith
December, 1886
William Meredith
March, 1887
43
44
William Meredith
April, 1887
William Meredith
August, 1887
William
45
Meredith
46
William Meredith
August, 1888
William Meredith
August, 1889
47
William Meredith
First Prize, Ninth Tourney
December, 1889
W h i t e mates in t w o m o v e s
48
William Meredith
June, 1890
37
14
Chess Problem. Gems
Still a n o t h e r l o n g w i t h d r a w a l k e y m o v e , o f w h i c h M e r e d i t h
was so fond, leads in N o . 42 to a surprising d e n o u e m e n t a
model m a t e by a pawn.
O n c e again a brilliant long w i t h d r a w a l keymove in N o . 43
permits the queen to g u a r d the c3 a n d c4 squares so as to allow
t h e t h r e a t m a t e , 2 Se6. T h e d u a l m a t e s f o l l o w i n g i n d i f f e r e n t
moves of the black q u e e n are too insignificant to affect the
beauty of the problem.
In the thematic m a i n p l a y of No. 44 the white q u e e n sweeps
across the r a n k for the k e y m o v e a n d t h e n d o w n the d i a g o n a l t o
the bishop's square to mate, after her p a t h has been cleared by
t h e r e m o v a l o f t h e w h i t e a n d b l a c k p a w n s . T h e v a r i a t i o n following Black's defense by 1
Q h 4 , in which the white queen
first c h e c k s b y 2 Q e 3 a n d t h e n goes o n t o m a t e b y 3 Q a 3 , a d d s
t o t h e a t t r a c t i v e n e s s o f t h e p r o b l e m a n d h e l p s t o offset t h e d e m e r i t of the short threat, 2 Q e 3 .
I n t h e t w o t h e m a t i c lines i n N o . 4 5 t h e w h i t e r o o k a n d w h i t e
bishop, each in turn, m a k e anticritical moves, w i t h d r a w a l s
a c r o s s t h e c r i t i c a l s q u a r e w h e r e t h e lines o f m o v e m e n t o f t h e
two pieces intersect. N o . 45 is an e x a m p l e , with a m i n i m a l w h i t e
force, of such strategic play. If Black captures the w h i t e p a w n
t h e ensuing m a t i n g positions are m o d e l mates.
I n N o . 4 6 t h e solver a g a i n will e n c o u n t e r M e r e d i t h ' s f a v o r i t e
t y p e o f key, a s w e e p i n g m o v e o f t h e q u e e n f r o m t h e t o p t o t h e
b o t t o m of a file, leading to p i n - m a t e s following either m o v e of
the black king.
T h e prize-winning No. 47reproduced as the ninth problem
in A Century of Two-Movers, t h e first v o l u m e in t h e series of p r o b lem books printed at F r a n k Altschul's private O v e r b r o o k
Pressprobably became Meredith's most widely k n o w n twomover. T h e mating threat is not too a p p a r e n t at first glance.
N o . 48, o p e n i n g w i t h a n o t h e r l o n g - r a n g e k e y m o v e , c o m b i n e s
in its t w o t h e m a t i c lines a Turton doubling a n d Herlin pericritical
play, t h e l a t t e r b e i n g a m a n e u v e r n a m e d f r o m a p r o b l e m p u b l i s h e d i n 1845 b y T h . H e r l i n , u n d e r his p s e u d o n y m " T h e
Anonymous Composer of Lille."
William
Meredith
S O L U T I O N S
N o . 33
1 R d 7 threat 2 Sd2 ck, K e 5 ; 3 P f 4 ck, K x R ; 4 R f 7
B f 3 ; 2 Sd2 ck, K e 5 ; 3 SxB ck, K x R ; 4 R f 7
Ke4; 4 Rd4
K e 5 ; 2 Sd2 etc.
N o . 34
1 Sd7, K d 2 ; 2 Sc5, K e l ; 3 S b 3
K e 3 ; 3 Sc4
K e l ; 2 Bc3
N o . 35
1 Q,g4 threat 2 Se6
QxQ,; 2 Sb3
K x S ; 2 Bb6
SxS;2 Pb4
N o . 36
1 Ba3 threat 2 P b 5
Bgl a n y ; 2 Se7, K c 7 ; 3 Sc6 dis ck, K a n y ; 4 P b 5
K x P ; 3 Sc6 dis ck, K x S ; 4 P b 5
Ka8; 4 Ra7
K c 8 ; 4 Be6
P d 3 ; 2 Pb5, Bb6 c k ; 3 KxB, a n y ; 4 Bd6
S f 4 ; 2 Pb5, Sd5, e 6 ; 3 BxS, a n y ; 4 Bd6
N o . 37
1 Bb7, P c 4 ; 2 Sd7, K g 4 ; 3 Bc8, K f 5 ; 4 Q h 3
else; 4 Se5
P c 2 ; 2 BxSd2, P c l ( S ) c k ; 3 K x P , a n y ; 4 BxS
N o . 38
1 Q d 6 , P e 4 ; 2 Sf4, a n y ; 3 Sg2
Sc3; 2 Q_b4, a n y ; 3 QxS
N o . 39
1 Q c 8 , K e 2 ; 2 Q,g4 ck, K d 3 ; 3 Q c 4
K f l ; 3 Se3
N o . 40
1 Q b 4 threats 2 Se7 a n d S f 4
BxQ,; 2 S f 4
RxQ,; 2 Se7
QxQ,;2Sh8
QxPck;2SxQ.
KxS; 2 Sf4
N o . 41
1 Q h 5 waiting
PxQ,; 2 S f 5
S a l a n y ; 2 Sc2(x)
K x S ; 2 Bc5
Se5; 2 Bc5
S d 3 else; 2 Q h 8
35
14
Chess Problem. Gems
N o . 42
1 Ba2, P b 3 ; 2 Pf7, PxB ck; 3 K x P a 2 , P b l ( Q ) ck; 4 K x Q ,
B g 7 ; 5 PxB
4 - -else; 5Pf8(Q)
No. 43
1 Q c 8 threat 2 Se6
K x S ; 2 Sb5
Q x Q ; 2 Sc7-b5
1 - - Q x S ; 2 QxS
Qb3; 2 QxS
BxS; 2 Q g 4
No. 44
1 Q h 6 threat 2 Q e 3 m a t e
Q x B ; 2 P d 4 ck, P x P e p ; 3 Q c l
P e 5 x P ; 3 BxPd4
Q h 4 ; 2 Q e 3 ck, Q d 4 ; 3 Q a 3
Q , g l ; 2 Q f 8 ck, S c 8 a n y ; 3 Q.xS
Sc6 c k ; 2 Q.xS ck, B x Q ; 3 S a 6
No. 45
1 S d 5 threats 2 R b l a n d B a 7
Pf5; 2 R b l , PxP; 3 Sb6
B h 7 ; 2 Ba7, B x P ; 3 S e 3
N o . 46
1 Q a l waiting
Ke4; 2 Q,bl
Kf6; 2 RxSf7
Sf7 any; 2 Q x S
SxB; 2 Q f l
Se5 else; 2 B d 3 ( x )
No. 47
1 Q,d2 threat 2 Q.h2
Q x Q , ; 2 Sc4
Qd4; 2 Q x Q
Q e 4 , f 5 ; 2 Sd7
Pg4; 2 Q f 4
No. 48
1 Bh7, K x P ; 2 Bg8, K e 5 ; 3 Q f 4
Kc5; 3 Q d 5
Kc3; 3 QxPc4
Pc3; 3 Q d 5
K b 3 ; 2 Q b 7 ck, K a 4 ; 3 Q b 4
K else; 3 Q b 2
Bf5; 2 QxB, K b 3 ; 3 Q c 2
George E. Carpenter
GEORGE EDWARD CARPENTER ( 1 8 4 4 - 1 9 2 4 ) l e a r n e d to p l a y

chess w h e n t h i r t e e n , s t a r t e d t o c o m p o s e p r o b l e m s a y e a r o r t w o
l a t e r a n d c o n t i n u e d t o d o s o f o r n e a r l y sixty-five y e a r s . F o l l o w i n g
Loyd's early period of activity a n d before S h i n k m a n b e c a m e
p r o m i n e n t , C a r p e n t e r for a time was the most distinguished
active American composer.
A l t h o u g h , like C o o k , s o m e o f his p r o b l e m s a p p e a r o l d fashioned in comparison with m o d e r n standards of composition,
a n u m b e r of Carpenter's were definitely strategic a n d m a n y of
t h e m h a d sparkling keys.
S o m e w h a t h e a v i l y set s i n c e i t e m p l o y s a l l t h e w h i t e p i e c e s ,
N o . 49, C a r p e n t e r ' s best k n o w n t w o - m o v e r , h a s a n excellent
k e y t h a t gives t h e b l a c k k i n g f o u r a d d i t i o n a l f l i g h t s q u a r e s , w i t h
four different mating moves by the d5 knight.
No. 50 is an early example of an a d d e d - m a t e block. T h e h4
white p a w n prevents a cook; without it W h i t e could play
1 R h 4 ck.
In A Sketchbook of American Chess Problematists, A l a i n W h i t e
c o m m e n t e d t h a t N o . 5 1 w a s " c o n s i d e r e d i n its d a y a s o f p r e eminent construction, with eight variations, including four
mates by the White K n i g h t battery." While the key threatens
d u a l mates, each c a n be forced in t u r n by a black defensive
move.
W i t h one variation in addition to the threat, No. 52 is a neat
illustration of white rook play.
C a r p e n t e r was especially interested i n p a w n p r o m o t i o n effects.
I n N o . 5 3 t h e solver, a t f i r s t g l a n c e , n a t u r a l l y w o u l d c l a i m a
q u e e n r a t h e r t h a n m a k i n g t h e less o b v i o u s p a w n p r o m o t i o n t o
a k n i g h t ; b u t if 1 Pe8(Q,), K a 7 ; 2 Q b 5 , S c 4 !
F o l l o w i n g a w a i t i n g - m o v e k e y i n N o . 54, a n o t h e r w h i t e r o o k
problem, White makes further waiting moves in each of the two
lines of play, leading to e c h o e d m a t i n g positions.
41
Chess Problem Gems
12
49
50
George E. Carpenter
First Prize
1871
George E. Carpenter
Chess Record
September, 1874
51
George E. Carpenter
Carpenter's Chess Problems
(Orestes A. Brownson)
1876
52
George E. Carpenter
Q, The White Rooks
1876
George E. Carpenter
53
54
George E. Carpenter
Westen und Daheim
1907
George E. Carpenter
The Falkirk Herald
February 15, 1911
55
56
George E. Carpenter
The Philadelphia Item
1911
George E. Carpenter
Westen und Daheim
1911
43
12
Chess Problem Gems
57
George E. Carpenter
The Pittsburgh Gazette-Times
May 26, 1912
59
George E. Carpenter
Second Honorable Mention
Fourth Meredith Tourney
Good Companions
February, 1917
58
George E. Carpenter
The White King
1914
60
George E. Carpenter
Densmore Memorial Tourney
1918
George E. Carpenter
45
Although the keymove of No. 55 deprives the black king of

o n e o f his f l i g h t s , t h e r e i s c o n s i d e r a b l e v a r i e t y i n t h e p l a y , t h r e e
of W h i t e ' s second moves being quiet ones a n d the u n u s u a l
e c h o i n g lines f o l l o w i n g t h e c a p t u r e o f e i t h e r k n i g h t b e i n g
e s p e c i a l l y a t t r a c t i v e . N o t e t h a t t h e w h i t e k i n g also t a k e s a p a r t
in one of the m a t i n g positions.
I n a n o t h e r o f C a r p e n t e r ' s s t u d i e s i n p a w n p r o m o t i o n , N o . 56,
t h e choice of m i n o r pieces instead of a q u e e n on b o t h W h i t e ' s
first a n d s e c o n d m o v e s i s n e c e s s a r y t o a v o i d s t a l e m a t e .
A long-range illustration of w h a t has fancifully been t e r m e d
t h e Durbar theme, i n w h i c h e v e r y w h i t e m o v e i s m a d e b y t h e
k i n g , i s s h o w n i n N o . 57. I n t h i s e x a m p l e t h e r e i s o n l y o n e l i n e
of play. Carpenter composed an eleven-move problem in which
the white king m a d e ten consecutive moves and two of the
four m a t i n g moves, the other two being m a d e by knights.
I n N o . 58, a n o t h e r D u r b a r , t h e w h i t e k i n g m a k e s t h e first a n d
second moves, a n d then discovers m a t e on the third m o v e either
vertically or diagonally according to the location of the black
k i n g . D i s c o v e r e d m a t e s b y t h e w h i t e k i n g , b o t h a l o n g a file a n d
a diagonal, h a d been shown previously by M. L a n s q u e n e t in a
t w o - m o v e D u r b a r p u b l i s h e d i n t h e A u g u s t , 1880, issue o f L a
Strategie.
P r o b l e m 5 9 i s a c o m p l e t e b l o c k , m a t e s b e i n g set i n t h e i n i t i a l
position for any move by Black. N o n e of the four mates is
c h a n g e d b y W h i t e ' s w a i t i n g m o v e key.
T h e m i n i a t u r e No. 60 is of a different type t h a n most of
C a r p e n t e r ' s e a r l i e r p r o b l e m s . T h e k e y gives t h e b l a c k k i n g t w o
f l i g h t c a p t u r e s , a l t h o u g h t h e solver will s o o n n o t e t h a t a m a t i n g
continuation must be provided to meet 1
Kc7.
Chess Problem. Gems
14
S O L U T I O N S
N o . 49
1 Q d 6 waiting
K c 2 , c4; 2 SxP
K d 2 ; 2 Sd5-b4
K d 4 ; 2 Sb6
K e 4 ; 2 Se7
P e l ; 2 Sb6
No. 51
Bc8 threats 2 Sc5 a n d SxPg5
Q x R o r R x P ; 2 SxPg5
S x Q ; 2 Sc5
K e 5 ; 2 SxS
K x S ; 2 Sd4
QxSe6; 2 Rd4
SxS; 2 Q x Q
RxS; 2 Q x R
SxR; 2 Q x Q
N o . 50
1 R h l waiting
Kg3; 2 Q h 2
K e 3 ; 2 Sd5
P e 3 ; 2 Sd5
Kf5; 2 Q f 7
Pf2; 2 QxP
N o . 52
1 R h l threat 2 R h l - e l threat 3 Re3-e2
K x R ; 2 Kg3, any; 3 R e l
N o . 53
1 Pe8(S), a n y ; 2 Sc6(ck), a n y ; 3 Sc7
N o . 54
1 Pc5, K x R a 6 ; 2 Rc7, K a 5 ; 3 R a 7
KxRc8; 2 Rb6, K d 8 ; 3 R b 8
N o . 55
1 Q g l , KxSc7; 2 Qa7, any; 3 Pb8(Q)
KxSe7; 2 Qg7, any; 3 P f 8 ( Q )
K d 7 ; 2 Qc5, K d 8 ; 3 Q d 6
K e 5 ; 2 Q g 3 ck, K d 4 ; 3 Se6
Kf6; 3 Pf8(Q)
N o . 56
1 Pb8(B), K e 7 ; 2 Ph8(B), K d 8 ; 3 B f 6
K f 8 ; 3 Bd6
George E. Carpenter
N o . 57
1 Ke4, K a 8 ; 2 Kd5, K b 8 ; 3 Kc6, K a 8 ; 4 Kc7
N o . 58
1 K f 4 , K d 5 ; 2 Ke3, Ke6; 3 K d 4
Pd5; 2 Kf5, KxS; 3 Ke5
M. Lansquenet
La Strategie
August, 1880
1 Kd3, Kb5; 2 Kd4

Kd6; 2 Kc4
Kd5; 2 Qe5
N o . 59
1 Q e 3 waiting
B any; 2 Q x P
S d 5 a n y ; 2 Sc3(x)
Se2; 2 Q b 3
S g l else; 2 Q f 3
N o . 60
1 Se7, K x S e 7 ; 2 Q c 6 , K d 8 ; 3 Q d 7
P a n y ; 3 Bh4
K x S e 5 ; 2 Q d 5 ck, K f 4 ; 3 Q f 5
K c 7 ; 2 Q c 6 ck, K b 8 ; 3 Sd7
Kd8; 3 Qd7
K e 6 ; 2 Q d 5 ck, K x S e 7 ; 3 Q d 7
P x S ; 2 Q c 6 ck, K e 7 ; 3 Bh4
P f 5 ; 2 Q c 6 ck, K x S e 5 ; 3 Sg6
K x S e 7 ; 3 Bh4
45
William A. Shinkman
WILLIAM A. SHINKMAN ( 1 8 4 7 - 1 9 3 3 ) w a s t h e m o s t p r o l i f i c of
A m e r i c a n problemists, composing some thirty-five h u n d r e d
p r o b l e m s . H i s style o f c o m p o s i t i o n w a s s i m i l a r t o L o y d ' s , b u t
w h e r e a s L o y d f r e q u e n t l y w a s c o n t e n t w i t h s h o w i n g a single
example of a theme, S h i n k m a n would experiment with various
i l l u s t r a t i o n s of it. As A l a i n W h i t e w r o t e in Sam Loyd and his
Chess Problems, " L o y d t o y e d w i t h t h e m e s , S h i n k m a n m a s t e r s
them."
I n t h e i n t r o d u c t i o n t o The Golden Argosy t h a t w a s w r i t t e n b y
O t t o Wurzburg, Shinkman's nephew, he stated that " L o y d is
r e p o r t e d t o h a v e a d m i r e d S h i n k m a n ' s w o r k b e y o n d all o t h e r s
a n d w i t h o u t q u a l i f i c a t i o n , a n d o f all c o m p o s e r s o f a l l t i m e s
S h i n k m a n holds L o y d as his f a v o r i t e . "
S i n c e i t w a s a b o u t 1870, a c c o r d i n g t o W u r z b u r g , t h a t S h i n k m a n a c t i v e l y s t a r t e d o n his c o m p o s i n g c a r e e r , N o . 6 1 w a s o n e
o f his e a r l i e s t c o m p o s i t i o n s a n d r e m a i n e d o n e o f his f a v o r i t e
two-movers. T h e exact square to which the key bishop must
m o v e is d e t e r m i n e d by Black's possible m o v e 1
Qb2.
S h i n k m a n always was interested in p a w n p r o m o t i o n play,
especially w h e r e the p r o m o t i o n was to a piece o t h e r t h a n a
queen, a n d the m i n i a t u r e No. 62 is an early a n d excellent
example.
I n t r o d u c e d b y a s u b t l e k e y , t h e c o n t i n u a t i o n i n N o . 6 3 following 1
P d 3 i l l u s t r a t e s Indian strategy, t h e s h u t - o f f of a
w h i t e piece to avoid a stalemate position, n a m e d f r o m the
famous problem by the Rev. Henry Augustus Loveday of
B e n g a l , I n d i a , p u b l i s h e d a n o n y m o u s l y F e b r u a r y , 1845, i n t h e
Chess Player's Chronicle. N o . 63 is e n r i c h e d by a s e c o n d v a r i a t i o n ,
l e a d i n g to a p i n - m a t e .
Following a surprising key, the m a i n p l a y in p r o b l e m 64 ends
in a model mate. In a secondary continuation, the q u e e n moves
to each of the black corner squares to mate.
48
William A.
Shinkman
61
William A. Shinkman
December, 1870
William A. Shinkman
Western Advertiser
1872
W h i t e mates in t w o m o v e s
63
64
William A. Shinkman
Western Advertiser
1872
William A. Shinkman
Deutsche
Schachzeitung
March, 1875
49
14
Chess Problem. Gems
S h i n k m a n ' s interest in self-mates, of which he b e c a m e one of

t h e m o s t e m i n e n t e x p o n e n t s , b e g a n e a r l y i n his c o m p o s i n g
c a r e e r . I n m a n y o f his s e l f - m a t e p r o b l e m s t h e w h i t e k i n g i s
placed initially far f r o m a n y a p p a r e n t m a t i n g position; in p r o b l e m N o . 6 5 h e w a n d e r s t o w a r d his d o o m .
N o . 66 is the f a m o u s S h i n k m a n - C a r p e n t e r coincidence. A
p r o b l e m b y C a r p e n t e r w a s p u b l i s h e d i n t h e O c t o b e r 20, 1877,
issue of t h e Detroit Free Press i d e n t i c a l in s e t t i n g w i t h N o . 66,
except for an unnecessary black p a w n on e7 in C a r p e n t e r ' s
p r o b l e m . Such coincidences, or anticipations, were not so comm o n o r n o t e d i n t h o s e d a y s a s t h e y h a v e b e e n l a t e r a n d s o this
coincidental appearance attracted an unusual a m o u n t of attention. No. 66 actually h a d been composed two or three months
p r e v i o u s l y , b e i n g o n e of a set of t h r e e p r o b l e m s e n t e r e d in a
tourney.
N o . 67 is a r e m a r k a b l e s t r a t e g i c c o n c e p t i o n , e s p e c i a l l y n o t e w o r t h y because of the small n u m b e r of m e n employed. It blends
t w o m a n e u v e r s : one line is an e x a m p l e of T u r t o n d o u b l i n g a n d
a second line of H e r l i n pericritical play. This m a y be c o m p a r e d
w i t h M e r e d i t h ' s N o . 48, w h i c h w a s p u b l i s h e d t w e l v e y e a r s l a t e r .
F o l l o w i n g t h e d e f e n s i v e m o v e s o f t h e b l a c k r o o k i n N o . 68,
there are two pairs of echoed m o d e l mates in w h i c h the knights
a l t e r n a t e i n t h e i r roles. A r a n d o m m o v e o f t h e b l a c k r o o k l e a d s
to a fifth m o d e l m a t e .
Alain W h i t e stated t h a t the original version of No. 69 was
" t h e earliest e x a m p l e o f u n p i n n i n g three w h i t e pieces. F o r
m a n y years the problem ranked as the champion all-round pin
p r o b l e m . " S h i n k m a n l a t e r m a d e a slight r e v i s i o n , s h o w n i n t h e
present d i a g r a m , p r o v i d i n g a m o r e striking key.
In view of the m i n i m a l black force in the self-mate N o . 70
a n d the a p p a r e n t freedom of m o v e m e n t of the black queen, it is
r e m a r k a b l e t h a t she c a n b e f o r c e d t o c h e c k m a t e t h e w h i t e k i n g
in four moves.
No. 71 was composed to show four different mates following
t h e m o v e s o f a single b l a c k p a w n , t h r e e o f its m o v e s r e s u l t i n g i n
self-blocks. S h i n k m a n w a s e s p e c i a l l y e x p e r t i n c o n s t r u c t i n g
w a i t i n g - m o v e p o s i t i o n s w i t h e x c e l l e n t keys.
A c c o r d i n g t o B l a c k ' s m o v e s i n N o . 7 2 W h i t e sets u p v a r i o u s
b a t t e r i e s o n his t h i r d m o v e t o d i s c o v e r m a t e o n t h e f o u r t h m o v e .
In t h e pairs of echoing continuations in p r o b l e m 73 Black
William A.
65
49
Shinkman
66
William A. Shinkman
La Strategic
August 15, 1877
William A. Shinkman
First Prize
Huddersfield College
Magazine
October, 1877
68
William A. Shinkman
Detroit Free Press
circa 1878
William A. Shinkman
Huddersfield College Magazine
1880
14
Chess Problem. Gems
self-blocks his k i n g i n t w o o f t h e m a t i n g p o s i t i o n s a n d t h e r e a r e
p i n - m a t e s i n t h e o t h e r t w o . T h e m i n i a t u r e N o . 74, w i t h t h e t w o
q u e e n sacrifices l e a d i n g t o c h a m e l e o n e c h o e d m o d e l m a t e s , w a s
one of Shinkman's favorite compositions. No. 75 was the pioneer
e x a m p l e of a self-mate in w h i c h a white p a w n p r o m o t e s to four
d i f f e r e n t pieces a c c o r d i n g to Black's play.
T h e spectacular key in the m i n i a t u r e No. 76 is followed by a
subtle second move w h e n Black plays 1
Ph3 a n d two of the
ensuing mates are models. On No. 77 Alain White c o m m e n t e d :
" It is curious that, a l t h o u g h W h i t e can at the outset play 1 Qe6,
he d a r e not make that move until the black p a w n has
advanced."
S h i n k m a n composed self-mates in various n u m b e r s of moves,
i n c l u d i n g his a s t o u n d i n g o n e o f 4 1 8 m o v e s . N o . 7 8 i s a t y p i c a l
e x a m p l e o f o n e o f his t w o - m o v e s e l f - m a t e s . T h e n e x t p o s i t i o n ,
N o . 79, i l l u s t r a t e s s t r a t e g i c m a n e u v e r i n g w i t h a m i n i m a l f o r c e .
T h e k e y m o v e i n p r o b l e m 8 0 gives t h e b l a c k k i n g a f u l l r a n g e
of eight flight squares, five m o r e t h a n in the initial position, a
d e f i n i t e task a c h i e v e m e n t i n a m i n i a t u r e s e t t i n g . M a n y o f
Shinkman's two-movers were waiting-move problems with
s p a r k l i n g keys, o f w h i c h N o . 81, a n a d d e d m a t e b l o c k , i s t y p i c a l .
N o . 82, w i t h its series o f e c h o e d s y m m e t r i c a l m a t e s , h a s a
surprising a m o u n t of play for a p r o b l e m with only five m e n .
W i t h a n o t h e r of the fine keys w h i c h S h i n k m a n w a s so a d r o i t
in devising, p r o b l e m 83 has a variety of interesting play, the
m a t e following 1
K e 4 being particularly notable. T h e pericritical m a n e u v e r in No. 84 is one that S h i n k m a n f e a t u r e d in
s e v e r a l o f his p r o b l e m s . T h e k e y a n d t h e c o n t i n u a t i o n i n t h e
m a i n p l a y are especially subtle.
N o . 85, w h i c h S h i n k m a n c a l l e d " o n e o f m y f a v o r i t e p r o b l e m s , " i s a n o t h e r o f his s t u d i e s i n p a w n p r o m o t i o n t h e m e s . N o .
8 6 m a y b e c o m p a r e d w i t h N o . 80. I t i s a b l o c k - t h r e a t , a t y p e o f
problem of which S h i n k m a n was a master in composing. In
t h i s i n s t a n c e t h e k e y m o v e gives t h e b l a c k k i n g f i v e f l i g h t
squares. No. 87 is a n o t h e r block-threat, with a surprising key
u n p i n n i n g the black queen.
I n t r o d u c e d w i t h a w a i t i n g - m o v e key, all t h e m a t e s i n N o . 8 8
a r e g i v e n b y a r o y a l b a t t e r y , t h e m o v e s o f t h e w h i t e k i n g disc o v e r i n g m a t e s f r o m t h e b i s h o p . A l a i n W h i t e i n The Golden
Argosy c o m m e n t e d o n N o . 8 9 : " A n u n u s u a l a n d o r i g i n a l p a i r
William A.
69
49
Shinkman
70
William A. Shinkman
V First Prize
Southern Trade Gazette
1883
William A. Shinkman
Chess Player's Chronicle
October 10, 1883
W h i t e self-mates in f o u r moves
71
William A. Shinkman
Detroit Free Press
1885
72
V
William A. Shinkman
Columbia Chess Chronicle
1888
12
Chess Problem Gems
73
74
William A. Shinkman
V Dubuque Chess Journal
November, 1890
William A. Shinkman
November, 1890
75
76
William A. Shinkman
Second Prize
Sunny South
1890-1891
William A. Shinkman
Deutsche
Schachzeitung
September, 1893
William
A.
Shinkman
49
77
William A. Shinkman
Ceske Listy Sachove
March,
1896
William A. Shinkman
British Chess
Magazine
July,
1896
W h i t e self-mates in t w o moves
79
80
William A. Shinkman
Tiffin
Tribune
circa 1898
William A. Shinkman
Checkmate
December,
1901
12
Chess Problem Gems
81
William A. Shinkman
82
Q, American Chess World

April, 1902
William A. Shinkman
V
Wiener Schachzeitung
October, 1905
83
William A. Shinkman
St. Louis Globe Democrat
1903
84
William A. Shinkman
Deutsche
Schachzeitung
February, 1907
William A.
Shinkman
85
William A. Shinkman
Bauernumwandlungaufgaben
1907
87
William A. Shinkman
American Chess Bulletin
October, 1910
88
William A. Shinkman
V Westen und Daheim
1910
William A. Shinkman
Deutsches
Wochenschach
1912
49
Chess Problem Gems
58
89
90
William A. Shinkman
December, 1913
William A. Shinkman
Tasks and Echoes
1915
91
92
William A. Shinkman
The
Pittsburgh
Gazette-Times
November 19, 1916
William A. Shinkman
and Otto Wurzburg
First Prize Class B
Three-Move
Section
Densmore Memorial
Tourney
1918-1920
W h i t e mates in two moves
William A.
Shinkman
59
of variations. T h e white p a w n adopts two separate routes to

r e a c h t h e s a m e t w o s q u a r e s i n e a c h case. T h e p r o b l e m w a s
d e d i c a t e d t o t h e m e m o r y o f S a m L o y d w h o d i e d A p r i l 10, 1 9 1 1 . "
I n t r o d u c e d by a flight-yielding key, N o . 90 is p r a c t i c a l l y t w o
t w o - m o v e problems, the m a t i n g positions in e a c h being
c h a m e l e o n echoes of the m a t e s in the other, the bishops altern a t i n g t h e i r roles.
A s p r e v i o u s l y m e n t i o n e d , L o y d p u b l i s h e d t h e first e x a m p l e
of w h a t came to be known as the Plachutta interference: the
m u t u a l interference of t w o b l a c k pieces of similar m o v e m e n t ,
one black rook moving along a file a n d the other along a rank,
or the interference of a bishop a n d the queen moving on intersecting diagonals. W h i c h e v e r piece occupies the intersecting
s q u a r e i n t e r f e r e s w i t h t h e m o v e m e n t o f its fellow. I n t h e o r i g i n a l
type of Plachutta interference a white m a n first moves onto the
i n t e r s e c t i n g (critical) s q u a r e , o b s t r u c t i n g t h e m o v e m e n t o f b o t h
black pieces. E i t h e r m a y c a p t u r e the white m a n , b u t i t t h e n
interferes with the other black piece. T h e Plachutta interference
is e s s e n t i a l l y a t h r e e - m o v e m a n e u v e r .
In No. 91 S h i n k m a n shows a Plachutta interference with
only eight w h i t e a n d b l a c k pieces, a n o t h e r e x a m p l e of his outs t a n d i n g ability to illustrate a strategic t h e m e with a m i n i m u m
n u m b e r o f m e n , for w h i c h h e b e c a m e r e n o w n e d a s " T h e
Wizard of Grand Rapids."
O t t o W u r z b u r g i n 1909 h a d s h o w n i n t h e classic N o . 133
t h a t the mutual interference could be brought about witho u t m o v i n g a white m a n o n t o the critical square a n d such an
i n t e r f e r e n c e is t e r m e d a Wurzburg-Plachutta.
A c c o r d i n g to Black's defenses t h e w h i t e king moves to eight
d i f f e r e n t s q u a r e s i n t h e w a i t i n g - m o v e p r o b l e m N o . 92, a t a s k
achievement. T h e excellent key is to provide a m a t i n g continuation following 1 Q b 5 . If the bishop should move elsewhere
Black w o u l d h a v e an effective defense by 1 Q b 5 ; 2 K c 3 ,
Q b l ! T h e solver s h o u l d n o t o v e r l o o k t h e c o n t i n u a t i o n f o l l o w ing 1 - - Q e l .
60
14 Chess Problem. Gems

S O L U T I O N S
N o . 61
1 Bc3 waiting
K x S ; 2 Pb4
P x R ; 2 Pe4
N o . 62
1 Pe8(R), K x P ; 2 Pa8(S), K b 5 ; 3 R e 5
Kc5; 2 Pa8(Q), Kd6; 3 Q c 5
N o . 63
1 R b l , Pd3; 2 Bal, Pe5; 3 Rb2, K d 4 ; 4 R b 4
Pe5; 2 Bd8, P d 3 ; 3 Bb6, K d 4 ; 4 R b 4
N o . 64
1 Q d 4 , PxQ; 2 Rf7, any; 3 Rc7
K b 7 ; 2 R f 7 ck, K a 6 ; 3 Q a l
Ka8; 3 Q h 8
K d 7 ; 2 Q g 4 ck, K d 8 ; 3 R f 8
K else; 3 Q c 8
N o . 65
1 Q g 7 , R x P ; 2 K e 5 dis ck, K a n y ; 3 K d 6 dis ck, R x Q
B x P ; 2 K f 6 dis ck, K a n y ; 3 K e 7 dis ck, Be5
N o . 66
N o . 67
1 B a 4 waiting
P d 6 ; 2 Sb5-c7
1 Ba2 threat 2 Q b 3 , a n y ; 3 Q g 8
Bf8; 2 Bbl, any; 3 Qh7(x)
N o . 68
1 Pe3, R x P ; 2 Q b l ck, K e 2 ; 3 S d 4
R d 2 ; 2 Q f 5 ck, K e 2 ; 3 Sc3
R d 4 ; 2 SxR, any; 3 Q b l
Rc3; 2 SxR, any; 3 Q f 5
R else; 2 Q x P ck, R d 3 ; 3 Q x R
K e 2 ; 2 Q h 5 ck, K f l ; 3 Q f 3
P h 3 ; 2 Sg3 ck, K f 2 ; 3 Q f 5
N o . 69
1 Ba7 waiting
Pd5; 2 Sf3-d4
B d 2 ; 2 Se2-d4
B f 2 ; 2 SxPc3
Bg3; 2 Q c 4
N o . 70
1 Bh3, Q a 8 , e8; 2 Q d 4 ck, Q e 4 ; 3 Q f 6 ck, Q f 5 ; 4 Q g 5 ck,
QxQ
Q e l s e ; 2 Q b 4 , c 4 , d 4 ck, Q x Q ; 3 Pg3 ck, K f 3 dis ck;

4 Bg4 ck, Q x B
William A.
N o . 71
1 Q h l waiting
PxPc6; 2 Q h 5
P d 6 ; 2 Bf2
59
Shinkman
Pd5; 2 Q c l
P x P e 6 ; 2 SxP
N o . 72
1 R x P , S x R ; 2 BxS, K a 5 ; 3 R d 4 , K b 6 ; 4 R x P
Pa5; 3 Re3, Kc5; 4 R b 3
Sg3; 2 R x S , K a 5 ; 3 R f 4 , K b 4 ; 4 Bb6
P a 5 ; 3 Be3, K a n y ; 4 Bc5
K a 5 ; 2 Rc2, S a n y ; 3 R c 5 ck, K b 6 ; 4 R c 5 - b 5
K b 4 ; 4 Sc2
No. 73
1 Q h 6 , Ke2; 2 RxP, K d 2 ;
Pd2;
Ph2;
P h 2 ; 2 Q x P h 2 ck,
3 Rf2
1
3 Qa6
3 QxP
Pe2; 3 Q x P f 4
Pf3; 2 Qa6,
Ke2; 3 Rc2
Pe2; 3 Q h 6
else; 3 Q a 2
N o . 74
1 Be2, K b 7 ; 2 Q c 8 ck, K x Q ; 3 Ba6
Kb6; 3 Qc7
K b 6 ; 2 Q a 5 ck, K x Q ; 3 Bc7
Kb7; 3 Qa6
N o . 75
1 R h 8 threat 2 PxS(B) ck, K x S ; 3 Q b 7 ck, B x Q
Sc6; 2 Pe8(S) ck, K x S ; 3 Q x S ck, B x Q
K x S ; 2 P x S ( R ) ck, K c 7 ; 3 Q b 7 ck, B x Q
P x Q ; 2 P x S ( Q ) ck, K c 6 ; 3 SxP ck, Q x S
S x P ; 2 Be5 ck, K x S ; 3 Q b 7 ck, B x Q
B f l ; 2 Q x S ck, K c 6 ; 3 S x P ck, Q x S
N o . 76
1 B h l , P h 3 ; 2 Bg2, P x B ; 3 S f 3 ck, K f l ; 4 Sh2
K h l ; 4 Sf2
P h 2 ; 2 Se5, P h i ; 4 Se5-f3
KxB; 2 K f 2 , Ph3; 3 K f l , Ph2; 4 Sf2
N o . 77
1 Q c 4 , P h 3 ; 2 Q e 6 , Bg3; 3 Q x P ck, S x Q ;
Bel; 3 QxB, S any; 4
Bh4; 3 KxB, S any; 4
B e l , g 3 ; 2 Q x P ck, B x Q ; 3 KxB, S
4 Sf3
Sf3(x)
Sf3(x)
a n y ; 4 Sf3(x)
14
Chess Problem. Gems
N o . 78
1 Q c 5 , PxQ,; 2 Bg5, P c 4 or Bg8
P g 5 ; 2 Q c 2 ck, B x Q
Bg8 ck; 2 Q d 5 ck, B x Q
N o . 79
1 Rgl, Kh6; 2 Kf5, Kh5; 3 R h l
Ph6; 2 Rg2, K h 4 ; 3 R h 2
N o . 80
N o . 81
1 R c 2 , P g l ( Q ) ; 2 Q x Q ck etc.
else; 2 R x P etc.
1 Q a 3 waiting
N o . 82
1 Bel, KxB; 2 Ke3, K d l ; 3 Rc8, K e l ; 4 R c l
K f l ; 2 Rg8, K e l ; 4 R g l
K d l ; 2 Kd3, K e l ; 3 Rb8, K d l ; 4 R b l
KxB; 3 Rf8, K d l ; 4 R f l
K f l ; 2 Kf3, K g l ; 3 Rh8, K f l : 4 R h l
K x B ; 3 R d 8 , K f 1; 4 R d l
N o . 83
1 Sg2 threat 2 Sel
PxS; 2 Q h 7
K e 4 ; 2 Sd5-e3
1 - - SxB; 2 S d 5 - f 4
S else; 2 Sg2-f4
R x B ; 2 Sb4
N o . 84
1 Rb7, Ph6; 2 Qa2, Ph5; 3 Q a 8 , K x P ; 4 Rb7-b2
Ph5; 2 R b l - b 2 , S x Q ; 3 RxS, K g l ; 4 R b l
S else; 3 PxS, P x P , 4 R b l
N o . 85
1 K c 3 , K e 7 ; 2 P d 8 ( S ) , K x S ; 3 P f 8 ( Q ) , K c 8 ; 4 Bc6
K f 8 ; 3 Se5 ck, K e 7 ; 4 P f 8 ( Q )
K d 6 ; 3 P f 8 ( Q ) ck, K x P ; 4 Bc6
N o . 86
1 Pg7 threat 2 Pg8 ( Q )
N o . 87
1 Q c l threat 2 K a 4
N o . 88
1 P f 5 waiting
Kc6; 2 Qe7, Kd5; 3 Ke3
Ke5; 2 Qb6, Kd5; 3 Kf4
K d 6 ; 2 Ke4, K c 6 ; 3 Ke5
William A.
Shinkman
59
N o . 89
1 Q e 4 , R x Q ; 2 P d 7 threat
Re8;
PxQ,; 2 P x R threat
Rd8;
3
3
3
3
P d 8 (S)
PxR(Q)
Pe8(Q)
PxR(S)
N o . 90
1 B e l , K x P ; 2 Be3, K d 5 ; 3 Bc6
K f 5 ; 3 Bg6
K c 5 ; 2 Bc6, K b 4 ; 3 Ba3
K d 4 ; 3 Be3
N o . 91
1 Sd7-c5 threats 2 S a 4 or Q b 4
R c 8 x S ; 2 Sb2 threat 3
Ra5; 3
R h 5 x S ; 2 S f 4 threat 3
Rc4; 3
Sa4
Qc4
Se2
Sd5
N o . 92
1 Bc6 waiting
Q c 3 , e5 ck; 2 K x Q
Q c 5 , d5 ck; 2 K x Q dis ck
Q b 4 , b6 ck; 2 K d 5 dis ck
Q d 2 , d 8 ck; 2 K c 5 dis ck
S a n y ; 2 K e 3 ( x ) dis ck
Bd3, c 4 ; 2 K x B dis ck
P f 4 ; 2 K e 4 dis ck
Qb5; 2 BxQ
Q e l ; 2 Q h 6 ck
D. J. Densmore
DARSO JAMES DENSMORE ( 1 8 6 7 - 1 9 1 7 ) , s o n i n - l a w of S a m L o y d ,

l e a r n e d t o p l a y chess i n his b o y h o o d d a y s a n d b e c a m e c h a m p i o n
o f t h e B r o o k l y n C h e s s C l u b i n his t e e n s . L a t e r h e b e c a m e i n t e r e s t e d i n p r o b l e m c o m p o s i t i o n , his e f f o r t s b e i n g d i v i d e d i n t o
two short periods.
P r i o r t o 1890 h e c o m p o s e d s o m e s e v e n t y - f i v e p r o b l e m s . T h e n
a f t e r a long period of inactivity in the p r o b l e m field he r e s u m e d
c o m p o s i t i o n i n 1914 a n d c o m p o s e d n e a r l y t w o h u n d r e d fifty
m o r e problems d u r i n g the following three years.
W h i l e he was interested in studies of various strategic themes,
his m o s t n o t a b l e w o r k i n his s e c o n d p e r i o d o f a c t i v i t y w a s i n t h e
i l l u s t r a t i o n o f b l a c k i n t e r f e r e n c e s , i n c l u d i n g a r e m a r k a b l e series
of Plachuttas.
W i t h an excellent key, N o . 93 is a n e a t e x a m p l e of a pericritical m a n e u v e r w h e r e a rook makes a r o u n d a b o u t j o u r n e y to
support the queen. T h e long withdrawal keymove a n d subs e q u e n t p a w n p r o m o t i o n to a rook to avoid t h e possibility of a
stalemate position, actually a n I n d i a n - t y p e m a n e u v e r , m a k e
N o . 94 a definitely t h e m a t i c composition.
Black's defensive moves in N o . 95 d o u b l e a W u r z b u r g P l a c h u t t a o n e in w h i c h there is no white m a n on the critical
s q u a r e t h e black q u e e n functioning here as a third black rook.
Again in problem 96 Densmore employs a r e m a r k a b l e
keymove, followed by quiet second moves, w h e r e Black's moves
i n c l u d e a c o m p l e t e black k n i g h t wheel. Despite t h a t t h e keym o v e threatens a short mate, No. 97 is an ingenious composit i o n : a c h a m e l e o n d o u b l i n g of a d i a g o n a l P l a c h u t t a , t h e
queen and each bishop in turn making m u t u a l interferences
in the thematic defensive play.
Problem 98 m a y be described as a three-phrase N o w o t n y
interference between the black rook a n d bishop, d e p e n d i n g
u p o n their relation to the critical square d5, o n t o w h i c h the
64
D. J. Densmore
93
65
94
Darso J. Densmore
First Prize
Brooklyn Chess Club Tourney
1913-1914
Darso J. Densmore
British Chess Magazine
September, 1915
95
96
Darso J. Densmore
V
Third Prize
The
Pittsburgh
Gazette-Times
March 19, 1916
Darso J. Densmore
Honorable
Mention
The Pittsburgh Gazette- Times
March 26, 1916
12
Chess Problem Gems
98
97
Darso J. Densmore
December 31, 1916
99
V
Darso J. Densmore
Fourth Prize
Seventh Quarterly Tourney
October 25, 1916
100
Darso J. Densmore
December 3, 1916
The
Darso J. Densmore
Pittsburgh Gazette- Times
December 3, 1916
W h i t e mates in f o u r m o v e s
67
D. J. Densmore
101
Darso J. Densmore
December 13, 1916
W h i t e mates in f o u r m o v e s
103
Darso J. Densmore
Honorable Mention
June 10, 1917
W h i t e mates in t h r e e moves
102
The
Darso J. Densmore
Pittsburgh
Gazette-Times
April 1, 1917
104
The
Darso J. Densmore
Pittsburgh
Gazette-Times
June 17, 1917
14
Chess Problem. Gems
w h i t e bishop moves in e a c h of t h e three t h e m a t i c lines of play.

I n N o . 9 9 a n o t h e r b i s h o p w i t h d r a w a l m o v e , i n t h i s case
threatening a short m a t e , leads to Plachutta interferences on
two different squares, d3 a n d f3.
A g a i n D e n s m o r e employs a long w i t h d r a w a l m o v e by a
b i s h o p as a k e y in N o . 100, w h e r e t h e r e is a d o u b l i n g of a
d i a g o n a l P l a c h u t t a i n t e r f e r e n c e w h e n Black m o v e s t h e bishop
to f7 or to g6 to defeat the threatened short m a t e e 6 a n d f5
t h e n becoming the critical squares where the black q u e e n a n d
bishop mutually interfere.
I n N o . 101, a c c o r d i n g t o B l a c k ' s p l a y t o p r e v e n t t h e s h o r t
t h r e a t of 2 R c 2 m a t e , W h i t e moves a piece to o n e of five d i f f e r e n t
s q u a r e s o n t h e e-file, w h i c h t h e n b e c o m e c r i t i c a l s q u a r e s i n a
P l a c h u t t a i n t e r f e r e n c e , m a k i n g t h e c o m p o s i t i o n a five-fold
Plachutta.
A s q u a r e - v a c a t i n g k e y i n N o . 102 l e a d s t o t w o c r o s s - c h e c k i n g
v a r i a t i o n s . T h e k e y m o v e i n p r o b l e m 103 p e r m i t s B l a c k t o g i v e
c o n s e c u t i v e d o u b l e - c h e c k s o n t h e first a n d s e c o n d m o v e s i n t h e
m a j o r d e f e n s i v e lines o f p l a y , besides c h e c k s i n o t h e r v a r i a t i o n s .
I n N o . 104, a t a s k c o m p o s i t i o n , B l a c k i n d e f e n d i n g a g a i n s t t h e
t h r e a t o f m a t e b y 2 Q e l self-blocks his k i n g i n f i v e d i f f e r e n t
ways.
S O L U T I O N S
N o . 93
1 R a l , Pg5; 2 Ra4, B any; 3 Q x P
Pg2; 3 Q e l
Pg2; 2 Q f 4 , P g 5 ; 3 Q h 2
1
K g 5 ; 2 S f 3 ck,
2 - -Kf5; 3 Qf4
2 - - K f 6 , h6; 3 Q f 8
N o . 94
1 Ba8, R x S ; 2 P e 8 ( R ) , R h 6 ; 3 R b 8 , R b 6 ; 4 R x R , P g l ( Q , ) ;
5 Rbl
RxPh7; 3 Rb8, R b 7 ; 4 R x R , Pgl(Q,);
5 Rbl
RxPg5; 3 Rd8, Rd5; 4 R x R , Pgl(Q.);
5Rdl
Rh4; 3 Rd8, Rd4; 4 RxR, K g l ; 5 R d l
R e 3 ; 2 P h 8 ( Q . ) , K g l ; 3 BxR ck, K f l ; 4 Sg3 ck, K e l ;
5 Qal
R c 3 ; 2 P h 8 ( Q J , R x P c k ; 3 K b 3 , R b 2 ck; 4 Q x R , P x Q ;
5Sg3
D. J.
Densmore
N o . 95
1 B b 3 threat 2 S x R ck, S x S ; 3 Q e 6
R f 8 - f 6 ; 2 Sc6 ck, R x S c 6 ; 3 Q f 4
R g 6 - f 6 ; 2 S f 3 ck, R x S ; 3 Q e 6
Q d 6 ; 2 Sc6 ck, Q x S ; 3 Q d 4
R d 6 ; 2 Q d 4 ck, R x Q ; 3 Sc6
N o . 96
1 K e l , SxB; 2 Q f 7 , S d 5 ; 3 Q f l
else; 3 Q x P
Sb4; 2 Kd2, Sd5; 3 Pb3
else; 3 Q x P
S x P b 6 ; 2 Q x P ck, S d 5 ; 3 Q a 6
S c 3 ; 2 P b 3 ck, K d 5 ; 3 Q x P
Sc7; 2 PxS, K d 5 ; 3 Q x P
S x P e 3 ; 2 Q x P ck, S d 5 ; 3 Q e 2
Se7; 2 BxS, K d 5 ; 3 Q x P
S f 4 ; 2 PxS, K d 5 ; 3 Q x P
Pe5; 2 Rd8, P a n y ; 3 Q x S
N o . 97
1 R c 7 threat 2 R f 7
Q a 2 ; 2 Sd5, Q x S ; 3 P e 4 ck, Q x P e 4 ; 4 R f 7
B x S ; 3 R f 7 ck, B x R ; 4 P e 4
P b l ( Q ) ; 2 P d 4 , Q x P ; 3 Se3 ck, Q x S ; 4 R f 7
B x P d 4 ; 3 R f 7 ck, B f 6 ; 4 S e 3
N o . 98
1 B f 7 threat 2 Bd5, R x B ; 3 Sc6
BxB; 3 Sd7
R d 6 ; 2 Bd5, R x B ; 3 Sc6
BxB; 3 Sd3
B b 7 ; 2 Bd5, R x B ; 3 S f 3
B x B ; 3 Sd7
R d 4 ; 2 Q g 5 ck, K e 4 ; 3 Bg6
Be4; 2 Q g 7 ck, K a n y ; 3 Q g 5
N o . 99
1 B h 6 threat 2 B f 8
R f 2 ; 2 S f 3 , R f 2 x S ; 3 R x P ck, R x R ; 4 B f 8
R h 3 x S ; 3 B f 8 ck, R x B ; 4 R x P
R d 2 ; 2 S d 3 , R d 2 x S ; 3 R x P ck, R x R ; 4 B f 8
R h 3 x S ; 3 B f 8 ck, R d 6 ; 4 R x P
R g 8 ; 2 R d l , R x B ; 3 S d 3 etc.
R g 6 ; 2 S x R etc.
69
14
Chess Problem. Gems
N o . 100
1 Ba8 threat 2 P d 4
B f 7 ; 2 Pe6, Q x P e 6 ; 3 P d 4 dis ck,
B x P ; 3 R x P ck, B x R ;
Bg6; 2 P f 5 , Q x P f 5 ; 3 P d 4 dis ck,
B x P ; 3 R x P ck, B x R ;
QxR; 4 RxP
4 Pd4
Qd3; 4 RxP
4 Pd4
N o . 101
1 R a 2 threat 2 R c 2
R f 2 ; 2 Be2, R e l x B ; 3 R c 2 ck, R x R ; 4 R e 8
R f 2 x B ; 3 R e 8 ck, R x R ; 4 R c 2
Q f l ; 2 Be2, R e l x B ; 3 R c 2 ck, R x R ; 4 R e 8
Q x B ; 3 R e 8 ck, Q x R e 8 ; 4 R c 2
Q g l , h 3 ; 2 Se3, R x S ; 3 R c 2 ck, R c 3 ; 4 R e 8
Q x R ; 3 R e 8 ck, Q x R ; 4 R c 2
Q h 7 ; 2 Se4, R x S ; 3 R c 2 ck, R c 4 ; 4 R e 8
Q x S ; 3 R e 8 ck, Q x R ; 4 R c 2
R f 4 or S f 4 ; 2 Se4 etc.
R f 5 ; 2 Se5, R e l x S ; 3 R c 2 ck, R c 5 ; 4 R e 8
R f 5 x S ; 3 R e 8 ck, R x R ; 4 R c 2
P d 5 ; 2 Se6, R e l x S ; 3 R c 2 ck, R c 6 ; 4 R e 8
R f 6 x S ; 3 R e 8 ck, R x R ; 4 R c 2
N o . 102
1 K g 4 threat 2 Sg5 dis ck, P x R ; 3 S f 3
P x R ; 2 Q e 5 , Q g 8 c k ; 3 Sg6
Ph5 ck; 3 SxP
RxP; 3 SxR
R g l a n y ; 3 Se2
Q g 8 ; 2 Q e 5 , P x P dis c k ; 3 Sg5
N o . 103
1 Bd6 threat 2 Sc5
BxS dbl c k ; 2 KxB, R x B d b l ck; 3 K x R
R x P d b l ck; 3 K x R
S b 3 ; 3 PxS
S c 3 , d 4 ; 3 Sc3(x)
else; 3 K d 8
Bb7 dbl c k ; 2 K b 8 , a n y ; 3 Sc5
Bb5 dis ck; 2 Sc5 ck, K b 4 ; 3 Q x B
R e 6 a n y ; 2 R x Q ck, a n y ; 3 Sc5
D. J. Densmore
N o . 104
1 Q c l threat 2 Q e l
Bd3; 2 Re2
Be4 ck; 2 S d 5
Sd3; 2 Re2
S f 3 ; 2 Sc2
P f 3 ; 2 Se2
Bf2; 2 R d l
77
Henry Wald Bettmann
HENRY WALD BETTMANN ( 1 8 6 8 - 1 9 3 5 ) , w i t h his b r o t h e r E d g a r

B e t t m a n ( 1 8 6 6 - 1 9 4 5 ) a n d his c o u s i n J a c o b B e t t m a n n ( 1 8 6 5 1935), b e g a n c o m p o s i n g p r o b l e m s w h e n in their teens, w o r k i n g
t o g e t h e r , a n d i t i s n o t p o s s i b l e t o tell w h a t p a r t e a c h p l a y e d i n
their collaborative efforts. In later years only H e n r y c o n t i n u e d
to compose. He became a prominent physician a n d surgeon in
C i n c i n n a t i a n d his p r o f e s s i o n a l a c t i v i t i e s l i m i t e d his p r o b lemistic work.
He was especially interested in task compositions in w h i c h
some particular feature is presented in m a x i m u m or manifold
r e p e t i t i o n s , like t h e f o u r d i s c o v e r e d m a t e s b y a p a w n , d o u b l e d
in p r o b l e m 113; the q u a d r u p l e d echo of a m a t i n g position in
N o . 116; the multiple u n p i n n i n g s of the white q u e e n in Nos.
122 a n d 1 2 3 ; a n d t h e m u l t i p l e p a w n p r o m o t i o n s i n p r o b l e m s
114, 115, 127 a n d 128.
O t h e r American problemists have been interested in certain
t y p e o f tasks, b u t c o n s i d e r i n g t h e v a r i e t y o f t h e t a s k s o f w h i c h
D r . B e t t m a n n c o m p o s e d n o t a b l e illustrations, h e m a y well
be regarded as the most outstanding A m e r i c a n task composer.
At o n e time it was n o t t h o u g h t possible to c o n s t r u c t a t w o m o v e r in which if the white king was submitted to a d o u b l e
check the mating move would not require the capture of one
o f t h e c h e c k i n g p i e c e s . B u t t h e B e t t m a n n b o y s i n N o . 105 s h o w e d
t h a t a capture was not necessary. In the sparkling m u t a t e N o .
106 t h e s u b t l e k e y c h a n g e s t h r e e set m a t e s f r o m c o m m o n p l a c e
to m u c h m o r e attractive ones.
P r o b l e m 107 i s a s t u d y i n p a w n p l a y , i n w h i c h t h e p a w n k e y m o v e sets u p a w a i t i n g p o s i t i o n . T h e n i n e a c h o f t h e t w o e n s u i n g t h e m a t i c lines a c a p t u r e b y a b l a c k p a w n i s c o u n t e r e d b y
a c a p t u r e b y a w h i t e p a w n t h a t o p e n s lines f o r t w o w h i t e p i e c e s ,
so as to discover m a t e f r o m one piece a n d simultaneously g u a r d
72
Henry
105
Wald Bettmann
106
Edgar, Henry Wald and

Jacob Bettmann
Quebec Chronicle
1882
Edgar and Henry Wald

Bettmann
South Australian Chronicle
1883
107
108

Jacob Bettman
First Prize
Southern Trade Gazette
1884

Jacob Bettmann
St. John Globe
1885
73
14
Chess Problem. Gems
t h e k n i g h t b y a n o t h e r p i e c e . T h u s all t h e m o v e s i n t h e t h e m a t i c
play are m a d e by pawns.
T h e w a i t i n g - m o v e k e y i n N o . 108 sets u p a p o s i t i o n t o m e e t
the threatened check, 1
Q e 7 ck, a n d a n y o t h e r m o v e s b y
the black queen, 1
Q h 8 ; 2 Kf4 being the most interesting
continuation.
N o . 109, a n i n c o m p l e t e b l o c k , n o m a t e b e i n g p r o v i d e d i n t h e
initial position for 1
Pf 3 or 1
P x P , is t y p i c a l of t h e style
of the Bettmanns' two-movers, the white king moving to where
he m a y be checked in three ways, but allowing the bishop's p a w n
to m o v e to three different squares to discover m a t e according
to Black's defensive moves. T h e mates following 1
Sb5
and 1
S f 5 should not be overlooked a n d there are no duals.
F r o m t h e i n i t i a l p o s i t i o n o f t h e w h i t e k i n g i n N o . 110 a n d t h e
i m m o b i l i t y o f all b u t o n e o f t h e b l a c k m e n i t w o u l d s e e m i n c r e d i b l e , a t first g l a n c e , t o b e l i e v e t h a t B l a c k c a n b e f o r c e d t o
m a t e W h i t e in three moves! T h e keymove is a spectacular one
a n d the continuations are subtle.
T h e B e t t m a n n boys r e g a r d e d a well-disguised key of p r i m e
i m p o r t a n c e a n d a g a i n i n N o . I l l the key a n d ensuing t h r e a t
a r e o f a n o r i g i n a l n a t u r e . T h e solver s h o u l d n o t e h o w t h e b l a c k
bishop's interference on the q u e e n leads to two distinct mates,
a c c o r d i n g t o w h e t h e r t h e b i s h o p m o v e s t o e 3 o r t o e5. T h e n t h e
m a t e following the flight-opening a n d self-blocking defense
1
R d 6 should be noted.
Another waiting-move problem by the Bettmann brothers,
N o . 112, shows m u t u a l i n t e r f e r e n c e s b e t w e e n a b l a c k r o o k a n d
t w o bishops, c o m b i n e d w i t h a white royal b a t t e r y . T h e t h e m e
of four lateral mates by discovery by the moves of a white p a w n
i s d o u b l e d i n p r o b l e m 113.
I n t h e m a i n p l a y o f p r o b l e m 114 t h e r e a r e t h r e e successive
p r o m o t i o n s of a p a w n to a r o o k a n d also a s e c o n d p r o m o t i o n of
a p a w n to a r o o k a f t e r 1
Sd5 ck; 2 PxS, K d 7 . D r . B e t t m a n n
t o o k a n e s p e c i a l i n t e r e s t i n p a w n p r o m o t i o n t h e m e s a n d N o . 115
f e a t u r e s p r o m o t i o n s t o d i f f e r e n t w h i t e pieces f o l l o w i n g d i f f e r e n t
promotions of a black p a w n . This problem m a y be regarded as
a f o r e r u n n e r to his Babsontask p r i z e w i n n e r N o . 128.
N o . 116 h a s a q u a d r u p l e d e c h o o f a m a t i n g p o s i t i o n , b r o u g h t
a b o u t by the self-blocking moves of the d e f e n d i n g black bishop.
I n t r o d u c e d b y a n e x c e l l e n t key, t h e r e a r e N o w o t n y i n t e r -
Henry
109
Wald Bettmann
75
110

Bettmann
Second Prize
La Strategic

Bettmann
Jamaica
Gleaner
1887
1886
111
112

Bettmann
Second Prize
Nashville American
1887

Bettmann
First Prize
St. John Globe
1888
12
Chess Problem Gems
113
114
Henry Wald Bettmann

1910
Henry Wald Bettmann

More White Rooks
1911
115
Henry Wald Bettmann
The Theory of Pawn Promotion
1912
116
Henry Wald Bettmann
The
Pittsburgh
Gazette-Times
September 22, 1912
Henry
Wald Bettmann
117
118
Henry Wald Bettmann

Schachblatter
June 7, 1914
Henry Wald Bettmann

Tasks and Echoes
1915
119
120
Henry Wald Bettmann

1916
Henry Wald Bettmann

First Prize
Good Companions
February 22, 1918
W h i t e mates in two moves
77
14
Chess Problem. Gems
f e r e n c e s o n five d i f f e r e n t s q u a r e s i n t h e e c o n o m i c a l l y c o n s t r u c t e d
N o . 117. P r o b l e m 118 i s p r o b a b l y t h e first p u b l i s h e d e x a m p l e
of the doubling of a W u r z b u r g - P l a c h u t t a interference. C o m p a r e t h i s c o m p o s i t i o n w i t h W u r z b u r g ' s N o . 133.
I n N o . 119 B l a c k ' s c a p t u r e o f t h e k n i g h t b y t h e p a w n l e a d s
to four distinct continuations, d e p e n d i n g on w h i c h one of four
d i f f e r e n t pieces B l a c k elects t o p r o m o t e t h e p a w n t o . I n t w o o f
t h e c o n t i n u a t i o n s t h e r e a r e also p a w n p r o m o t i o n s b y W h i t e .
P r o b l e m 120 h a s a n o v e l k e y , c h a n g i n g t h e m a t e a f t e r 1
RxS
c k a n d p e r m i t t i n g the p a w n t o discover a n o t h e r m a t e w h e n
Black plays 1
R x P . T h e r e are two pairs of symmetrically
e c h o e d m a t e s i n N o . 121, o n e p a i r b e i n g m o d e l m a t e s .
A f t e r t h e s e l f - p i n n i n g k e y i n p r o b l e m 122, s e t t i n g u p a b l o c k
p o s i t i o n , five o f B l a c k ' s m o v e s a r e w i t h d r a w a l u n p i n s o f t h e
white q u e e n , while a sixth m o v e is an interference u n p i n . A g a i n
i n N o . 123 a f t e r a t h e m a t i c s e l f - p i n n i n g k e y m o v e , t h e r e a r e s e v e n
withdrawal unpins of the white queen permitting her to mate.
I n N o . 124 t h e r e a r e s q u a r e o b s t r u c t i o n s o n a b l a c k k n i g h t
w h e n the black bishop moves to d2, f2 or g5 a n d interferences
by a knight on the bishop w h e n the bishop moves b e y o n d these
squaresan unusual theme, in which the thematic play is
tripled. T h e short t h r e a t is a m i n o r demerit.
N o . 125 is a b e a u t i f u l e x a m p l e of a b l o c k - t h r e a t p r o b l e m ,
w i t h a fine key a n d m a t i n g threat. N o t e the c h a n g e d m a t e after
1
Q.f'5 c k a n d also t h e t r y 1 Q f 4 d e f e a t e d b y 1
QxR.
T h e s t r i k i n g k e y m o v e i n N o . 126 o b s t r u c t s t h e w h i t e b i s h o p
a n d gives t h e b l a c k k i n g a f l i g h t , f o l l o w e d b y a s u r p r i s i n g m a t e
i f t h e k i n g m o v e s t o e5. T h e n t h e solver s h o u l d n o t miss t h e m a t e
after Black's self-blocking m o v e 1
R e 5 to defeat the threat
2 Sf6.
A c c o r d i n g t o B l a c k ' s p l a y i n p r o b l e m 127 t h e r e a r e six different promotions of the white pawn, which promotes to a
q u e e n three times on b8, c8 or d8, or to a k n i g h t on the same
s q u a r e s . W i t h a t o t a l o f o n l y e l e v e n w h i t e a n d b l a c k m e n this
c o m p o s i t i o n is t r u l y a m a s t e r p i e c e .
N o . 128 i s t h e f a m o u s Babsontask first p r i z e w i n n e r i n w h i c h ,
f o l l o w i n g W h i t e ' s p a w n p r o m o t i o n key, t h e p r o m o t i o n o f t h e
black p a w n by 1
P x B to a n y one of f o u r d i f f e r e n t pieces is
countered by the p r o m o t i o n of White's king's bishop's p a w n to
a similar piece.
Henry
Wald Bettmann
121
122
Henry Wald Bettmann

Densmore Memorial
Tourney
1918-1920
Henry Wald Bettmann

V Good Companions
November, 1919
123
124
Henry Wald Bettmann

Good Companions
November, 1919
Henry Wald Bettmann

Second Prize, Class B
Densmore Memorial
Tourney
1918-1920
White mates in three moves
79
58
Chess Problem Gems
125
126
Henry Wald Bettmann

V Good Companions
April, 1921
Henry Wald Bettmann

Second Prize
Good Companions
May, 1921
127
128
Henry Wald Bettmann

Good Companions
January,
1923
Henry Wald Bettmann

First Prize
Babson Task Contest
1925-1926
White self-mates in three moves
Henry
Wald Bettmann
81
S O L U T I O N S
N o . 105
1 Q h 5 , SxS d b l c k ; 2 K c 3
N o . 106
1 Q e l waiting
Ke4; 2 Q h l
Pe4; 2 Q x P
P d 3 ; 2 Pd4
S a n y ; 2 SxB
B a n y ; 2 BxP
N o . 107
1 PxPe4 waiting
PxPe4; 2 PxP
P x P d 4 ; 2 PxP
KxS; 2 Rf3
PxR; 2 Q h 3
N o . 108
1 Bh4 waiting
Q e 7 ck; 2 Re6
Q g 5 ck; 2 R f 5
Q g 3 c k ; 2 R f 4 dis ck
Qh8; 2 Kf4
N o . 109
1 K d 2 waiting
P b 3 dis c k ; 2 P c 3
B x Q ; 2 Pc4
B b 3 ; 2 PxB
B x P ; 2 BxB
Sc4 c k ; 2 Q x S
S b 5 ; 2 Pd6
S f 5 ; 2 Sg5
P x P ck; 2 R x P e 3
No. I l l
1 Re2-c2 threat 2 R d 3
Be3; 2 K e 2
Be5; 2 K e 3
Sf2; 2 KxS
P g 4 ; ck K x B
Sf5; 2 Kg4
R d 6 ; 2 Se7
N o . 110
1 S h i , Bb6, c5; 2 S b 3 ck, K d 3 ; 3 S f 2 ck, BxS
B b 8 ; 2 Q f 6 ck, B e 5 ; 3 Pg6, B x Q
N o . 112
1 S a 3 waiting
R d 2 ; 2 Bb2
Re2; 2 Rd3
Rf2; 2 KxPg3
Rg2; 2 KxPh3
B e 2 ; 2 SxS
Bd2, f 2 ; 2 SxS
Bel else; 2 K x P g 3
N o . 113
1 R h 2 threat 2 P g 3 or g4
S h 3 ; 2 PxS
R a n y ; 2 Pg3
B h 5 ; 2 Pg4
S f 3 ; 2 PxS
QxP; 2 PxQ
Q f 5 ; 2 Pc3
P x P ; 2 Pc4
Q b 3 ck; 2 P x Q
14
Chess Problem. Gems
N o . 114
1 Pc8(R), SxR; 2 PxS(R), K d 7 ; 3 Pf8(R), K d 6 ; 4 Rf8-d8
Sd5 ck; 2 PxS, K d 7 ; 3 P f 8 ( R ) , K d 6 ; 4 R f 8 - d 8
K x P ; 3 Pb8(Q,), K a n y ; 4 Q e 5
N o . 115
1 PxP, Pa 1(Q,); 2 P b 8 ( Q , ) , a n y ; 3 Bd7
P a l ( S ) ; 2 K c 4 , a n y ; 3 Pb8(S)
Pal(B); 2 Pb8(R), Kd6; 3 Rb6
K b 5 , b 6 ; 2 P b 8 ( Q , ) ck
N o . 116
1 Q b 3 , Be3; 2 Q c 3 threat 3 Q x P e 5
Bd4; 3 Q f 3
Bf4; 3 Q d 3
K f 5 ; 2 Q,g3 threat 3 Q x P
Bf6; 3 Q g 4
Bf4; 3 Q g 6
N o . 117
1 Sb6 threat 2 Bg3 ck, K a 7 ; 3 Sc8
R c l or R c 2 ; 2 Bc6
R d l , R d 2 or R a 5 ; 2 Bd5
R e l , R e 2 or R a 4 ; 2 Be4
R f l or R f 2 ; 2 B f 3
Rgl;2Bg2
N o . 118
1 S d 8 threat 2 P x R dis ck
R c 4 - c 5 ; 2 S x P ck, R x S ; 3 Sc6
R d 5 - c 5 ; 2 Sc6 ck, R x S ; 3 S x P
Q g 4 ; 2 Se2 ck, Q x S ; 3 Se6
Bg4; 2 Se6 ck, B x S ; 3 Se2
N o . 119
1 Sh5, P x S ( Q ) ; 2 P d 8 ( Q ) , Q . f 5 ck; 3 K e 7
PxS(R); 2 Pd8(S), R f 5 ; 3 Sf7
P x S ( B ) ; 2 K e 5 , B x P ; 3 R g l x B ck
P x S ( S ) ; 2 R h 3 , Se3; 3 S f 6 ck
Sg3; 2 K e 5
Pel(Q);2Pd8(Q.)
Henry
Wald Bettmann
N o . 120
1 Pe6 threat 2 Be5
R x S ck; 2 B x R
RxP; 2 PxR
B d 4 ; 2 Bd2
S f 2 ; 2 Sd5
S f 4 ; 2 Sg4
N o . 121
1 Q e 3 , S x R d 6 ; 2 Sc6 ck, K x R ; 3 Q h 6
S x R f 6 ; 2 Sg6 ck, K x R ; 3 Q b 6
K x R d 6 ; 2 Q b 6 ck, K x S ; 3 R f 7
Ke5; 3 Rf5
K x R f 6 ; 2 Q h 6 ck, K x S ; 3 R d 7
Ke5; 3 Rd5
N o . 122
N o . 123
1 Q x P waiting
QxQ; 2 SxQ
Qf2; 2 Q x Q
Q g l ; 2 Bc2
Qf3; 2 Qd7
QxBg3; 2 Q d 4
QxS; 2 Q d 3
Qf4; 2 Q x Q
QxP; 2 Q x Q
Sb6; 2 Q g 4
N o . 124
1 Q f 3 , Bel; 2
Bh6; 2
Bgl; 2
Bd2;2
Bg5;2
Bf2; 2
1 P c 4 waiting
Q d 4 ; 2 Q x Q or Q a 3
Qd5; 2 Q x Q
QxR; 2 Qd5
QxPe5; 2 Q a 3
QxS; 2 Qa3
QxPc4; 2 Q x Q
QxB; 2 Qd6
Q x Q ck; 2 S x Q
Sa5, S d 2 ; 3 Q e 3
Sd8, Sg5; 3 Q e 3
Sa2xPb4, Sf2; 3 Q e 3
Sa5
Sg8
Sa2xPb4
N o . 125
1 Q e 3 threat 2 P c 4
No. 126
1 K c 3 threat 2 S f 6
Ke5; 2 Kc4
Q e 5 ck; 2 R d 4
Re5; 2 Q c 4
N o . 127
1 Rd7, SxR; 2 P x R ( Q )
Se6; 2 P c 8 ( Q )
Kc8; 2 PxS(Q)
K x R ; 2 PxR(S)
K x B ; 2 Pc8(S)
R c 8 ; 2 PxS(S)
83
Chess Problem Gems
84
N o . 128
1 Pa8(B), P x B ( Q ) ; 2 P f 8 ( Q ) , Q g 8 ; 3 Q x Q . , R x R
Q x P ck; 3 P b 5 ck, Q x P b 5
Q x S ; 3 P b 5 ck, Q x P b 5
Q else; 3 W h i t e x Q, R x R
PxB ( R ) ; 2 P f 8 ( R ) , R x S ; 3 R x R f l , R x R
PxB(S); 2 Pf8(S), S x Q ; 3 RxS, R x R
Sf3; 3 QxS, R x R
P x B ( B ) ; 2 Pf8(B), B a n y ; 3 W h i t e x B, R x R
Otto Wurzburg
OTTO WURZBURG ( 1 8 7 5 - 1 9 5 1 ) d i s p l a y e d o u t s t a n d i n g skill i n

construction of both strategic and model m a t e compositions and
was u n d o u b t e d l y influenced by the ideals of the B o h e m i a n
School.
T h e Bohemian composer is more interested in aesthetic
elements t h a n in strategical maneuvers. T h u s the typical ideal
B o h e m i a n composition has an attractive initial setting, is
economically c o n s t r u c t e d w i t h m u c h mobility of the pieces
e m p l o y e d a n d has a variety of beautiful m a t i n g positions, including several m o d e l mates. N a t u r a l l y such ideals are m o r e
applicable to three-move a n d four-move problems t h a n to twomovers.
W u r z b u r g , however, was a master in the blending of elegance
of construction w i t h strategical ideas. It is interesting to note
how sparing he was in the employment of white p a w n s ; only in
six o f t h e s e t h i r t y - t w o s e l e c t i o n s o f his p r o b l e m s a r e t h e r e a n y
white pawns.
N o . 129, a p r o b l e m d o m classic, f e a t u r e s T u r t o n d o u b l i n g i n
a m i n i a t u r e setting, previously shown in S h i n k m a n ' s N o . 67
a n d in M e r e d i t h ' s N o . 48. It is enriched by a s e c o n d a r y varia t i o n w h e r e a q u e e n sacrifice leads to a m o d e l m a t e , w h i c h m a y
b e c o m p a r e d w i t h t h e t w o q u e e n sacrifice lines o f p l a y i n
p r o b l e m 74.
W i t h its u n u s u a l reflected m o d e l m a t e e c h o , p l u s a t h i r d m o d e l
m a t e , N o . 130 i s t y p i c a l o f W u r z b u r g ' s skill i n c o m p o s i n g
Bohemian type problems. E a c h of the four model mates in No.
131 i s o f a d i f f e r e n t t y p e , t w o o f t h e m f o l l o w i n g s e l f - b l o c k i n g
moves by Black's king's bishop.
S h o u l d W h i t e p l a y S c 3 o n t h e f i r s t m o v e i n N o . 132, B l a c k ' s
only m o v e w o u l d be 1
Pc5, producing a stalemate position
unless W h i t e freed t h e black king. So t h e k e y m o v e avoiding
this possibility is a f o r m of I n d i a n strategy, as e x p l a i n e d in con85
14
Chess Problem. Gems
n e c t i o n w i t h p r o b l e m 63. T o i l l u s t r a t e this m a n e u v e r w i t h o n l y
six m e n is a c o n s t r u c t i o n a l f e a t .
N o . 133 i s t h e p i o n e e r e x a m p l e o f t h e W u r z b u r g - P l a c h u t t a ,
a P l a c h u t t a interference w h e r e a white m a n is n o t m o v e d onto
t h e c r i t i c a l s q u a r e . A s p r e v i o u s l y m e n t i o n e d , six y e a r s l a t e r i n
N o . 118 D r . B e t t m a n p u b l i s h e d t h e first d o u b l i n g o f a W u r z burg-Plachutta interference.
All s e v e n o f t h e b l a c k k n i g h t ' s m o v e s i n N o . 134, v a c a t i n g t h e
d4 square to defeat the threat 2 Re5, are interferences on other
black men. In the battle between the white a n d black knights
i n t h e m i n i a t u r e N o . 135 t h e s t a r v a r i a t i o n i s t h e o n e w h e r e t h e
q u e e n is s a c r i f i c e d a f t e r 1
S a 2 , l e a d i n g to a s e c o n d self-block
by a black knight a n d e n d i n g in a model m a t e .
N o . 136 m a y b e r e g a r d e d a s a t a s k p r o b l e m i n w h i c h , a c c o r d i n g to Black's play, t h e white q u e e n is sacrificed on the
s e c o n d m o v e o n five d i f f e r e n t s q u a r e s . W h i l e i n N o . 137 t h e r e
a r e o n l y f o u r w h i t e pieces, t h e r e i s a w i d e v a r i e t y o f s t r a t e g i c
p l a y , i n c l u d i n g f o u r b l a c k u n b l o c k i n g defenses, s e v e n self-blocks
a n d three black interferences. T w o of the variations end in
model mates.
I n t h e m i n i a t u r e N o . 138 t h e w h i t e k i n g m o v e s i n t o a n exposed position a n d m u c h of the ensuing play is a duel between
t h e b l a c k r o o k a n d t h e w h i t e q u e e n ' s b i s h o p . A f t e r t h e selfblocking 1
R a l t h e m o d e l m a t e i s s p e c t a c u l a r . I n N o . 139
the white king moves to where he is exposed to consecutive
checks; but in four variations the moves of the black knights
obstruct those of the black rook.
T h e w i t h d r a w a l k e y i n p r o b l e m 140 l e a d s t o a w a i t i n g - m o v e
position with multiple I n d i a n - t y p e play following the moves of
t h e b l a c k b i s h o p . O p e n i n g w i t h a sacrificial k e y m o v e , N o . 141
h a s a c u r i o u s series o f m o d e l m a t e s , essentially t h e s a m e m a t i n g
position b e i n g r e p e a t e d w i t h slight variations in five d i f f e r e n t
lines of p l a y .
I n N o . 142 t h e b l a c k r o o k s , m o v i n g a l o n g t h e s a m e l i n e i n s t e a d o f o n i n t e r s e c t i n g lines a s i n a P l a c h u t t a i n t e r f e r e n c e ,
interfere with each other w h e n either of t h e m moves to e2 to
defend against the threatened immediate m a t e . W h e r e a
l o n g - r a n g e piece, either w h i t e or black, instead of clearing
a l i n e f o r a s i m i l a r f e l l o w p i e c e , m o v e s in t h e o p p o s i t e d i r e c t i o n t o w a r d its f e l l o w i t is c a l l e d an anti-Bristol m o v e , since
Otto
129
Wurzburg
130
Otto Wurzburg
V Bahn Frei
1895
Otto Wurzburg
Tijdschrift van den Nederland
Schaakbond
May, 1900
131
132
Otto Wurzburg
The Des Moines Leader
1902
Otto Wurzburg
Lasher's Chess Magazine
November,
1905
87
12
Chess Problem Gems
134
133
Otto Wurzburg
V Zlata Praha
June 25, 1909
Otto Wurzburg
Pittsburgh Leader Tourney
1909-1910
136
135
Otto Wurzburg
Westen und Daheim
September 10, 1911
The
Otto Wurzburg
Pittsburgh
Gazette-Times
February 25, 1912
White mates in four moves
Otto
137
The
Wurzburg
89
138
Otto Wurzburg
March 9, 1912
Otto Wurzburg
First Prize
Samuel Loyd Memorial Tourney
1913
139
140
Otto Wurzburg
The Problem
April 25, 1914
Otto Wurzburg
The Problem
October 3, 1914
14
Chess Problem. Gems
t h e m o v e i s t h e o p p o s i t e o f t h a t i n a Bristol c l e a r a n c e . S o t h e
p l a y o f t h e r o o k s i n N o . 142 m a y b e t e r m e d a m u t u a l anti-Bristol
interference.
N o . 143 e c h o e s t h e p l a y of t h e f a m o u s Bonus Socius t w o - m o v e r
that was composed some time in the thirteenth century. T h e
black p a w n is required to avoid a dual continuation. W i t h o u t
i t t h e p l a y c o u l d also r u n 1 R h 7 , S d 4 ; 2 R b 7 , S e 6 ; 3 K h l , g l
or g3 waiting.
N o . 144 s h o w s m u l t i p l e e c h o e s o f a s i m p l e t y p e o f m i r r o r
m o d e l m a t e s . F r o m its d e c e p t i v e s i m p l i c i t y o f c o n s t r u c t i o n f e w
solvers m a y a p p r e c i a t e t h e skill r e q u i r e d t o c o m p o s e s u c h a
p r o b l e m . T h e f l i g h t - y i e l d i n g k e y o f p r o b l e m 145 l e a d s t o five
model mate denouements, including three pin-models. In the
c o m p l e t e black knight wheel in N o . 146 six of t h e k n i g h t ' s m o v e s
a r e i n t e r f e r e n c e s o n o t h e r b l a c k pieces, t w o o f t h e m also b e i n g
unpins of the white queen.
A w a i t i n g - m o v e k e y in N o . 147 l e a d s to a series of e c h o e d
model mates. N o t only does the white king m a k e the keymove
i n N o . 148 b u t h e d i s c o v e r s m a t e i n t h r e e v a r i a t i o n s , t w o b e i n g
c h a m e l e o n echoes.
O n c e a g a i n , i n t h e m i n i a t u r e N o . 149, t h e k i n g m a k e s t h e
k e y m o v e , this t i m e a s u r p r i s i n g r e t r e a t t o v a c a t e a s q u a r e t o
enable a bishop to m a k e a threat, leading to echoed c h a m e l e o n
m o d e l m a t e s . F o l l o w i n g t h e f l i g h t - y i e l d i n g k e y i n N o . 150 t h e
continuations include two pairs of echoed model mates.
I n p r o b l e m 151 a n t i - B r i s t o l p l a y i s c o m b i n e d w i t h Brede
cross-check v a r i a t i o n s , i n w h i c h a w h i t e p i e c e b e c o m e s p i n n e d
w h e n it interposes to defend against a check by Black a n d then
on a subsequent move is u n p i n n e d when a black m a n makes an
i n t e r f e r e n c e o n t h e p i n n i n g line, r e l e a s i n g t h e w h i t e p i e c e t o
m a k e the m a t i n g move. This maneuver is so n a m e d from being
shown in a p r o b l e m by Julius Brede (1800-1849), published in
Schachaufgaben i n 1844. I n N o . 151 i t i s t h e k i n g t h a t m a k e s
Black's m o v e in the Brede variations.
I t m a y s u r p r i s e t h e solver w h e n h e d i s c o v e r s t h a t N o . 152 i s
a m u t a t e and that neither the white king nor queen is able to
m a k e a w a i t i n g m o v e . T h e k e y c h a n g e s t h r e e set m a t e s a n d
adds another.
N o . 153, o n e o f W u r z b u r g ' s m a s t e r p i e c e s , m a y b e r e g a r d e d
as a c o m b i n a t i o n of t w o three-move p r o b l e m positions, differ-
Otto
141
The
142
Otto Wurzburg
Pittsburgh
Gazette-Times
December 5, 1915
143
The
97
Wurzburg
The
Otto Wurzburg
April 22, 1917
144
Otto Wurzburg
Pittsburgh
Gazette-Times
February 17, 1918
Otto Wurzburg
First PrizeClass A
Densmore Memorial Tourney
1918-1920
12
Chess Problem Gems
146
145
Otto Wurzburg
Eskilstuna
Kuriren
March 15, 1919
Otto Wurzburg
The Atlanta Journal
February, 1920
148
147
Otto Wurzburg
Good Companions
August, 1921
Otto Wurzburg
The Pittsburgh Post
February 1, 1925
White mates in f o u r moves
Otto
149
Wurzburg
93
150
Otto Wurzburg
Fourth Prize
Prager Presse
1926
Otto Wurzburg
The Pittsburgh Post
April 30, 1927
151
152
The
Otto Wurzburg
Minneapolis Journal
January 21, 1934
Otto Wurzburg
January,
1936
12
Chess Problem Gems
153
154
Otto Wurzburg
First Prize
Third Cheney Miniature
Tourney
1937
Otto Wurzburg
The Atlanta Journal
September 29, 1939
155
Otto Wurzburg
First Prize
1939
156
Otto Wurzburg
First Honorable Mention
1940
Otto
157
Otto Wurzburg
First Commended
1942
159
Otto Wurzburg
The Chess Correspondent
January,
1942
Wurzburg
95
158
Sam
Otto Wurzburg
First Prize
Loyd Memorial Tourney
Chess Review
1942
160
Otto Wurzburg
To Alain White
1945
14
Chess Problem. Gems
e n t i a t e d b y t h e first m o v e o f t h e b l a c k k i n g , t o f 1 o r t o f 3 . E a c h
continuation leads to two model mates, which are chameleon
echoes of the m a t e s in the other c o n t i n u a t i o n .
I n t h e m u t a t e N o . 154 t h e s u r p r i s i n g B r i s t o l - t y p e k e y c h a n g e s
t h e m a t e set f o r 1
P f 3 t o a m u c h m o r e a t t r a c t i v e o n e . Besides t h e t w o q u e e n sacrifices i n N o . 155, f o l l o w e d b y m o d e l
mates, there is additional interesting play. O p e n i n g with a
s u b t l e w a i t i n g - m o v e k e y , N o . 156 h a s a p a i r o f s y m m e t r i c a l l y
e c h o e d m o d e l m a t e s a n d also a p a i r o f e c h o e d p i n - m a t e s . N o .
157, a n o t h e r m i n i a t u r e , h a s a s u r p r i s i n g a m o u n t o f p l a y f o r t h e
few pieces e m p l o y e d , w i t h several m o d e l m a t e s .
A duel between the black q u e e n a n d the white rooks is introd u c e d b y a n e x c e l l e n t k e y i n t h e m i n i a t u r e N o . 158. T h e solver
s h o u l d n o t e t h e s e v e n tries b y t h e k i n g ' s r o o k , e a c h o f w h i c h i s
o n l y d e f e a t e d b y a single m o v e o f t h e q u e e n . A n o t h e r e x c e l l e n t
k e y i n N o . 159 l e a d s t o a v a r i e t y o f s t r a t e g i c p l a y .
P r o b l e m 160 is an e x a m p l e of t h e Roman theme in a m i n i a t u r e
s e t t i n g . I n this t h e m e a n i n i t i a l m a t i n g t h r e a t b y W h i t e i s d e f e a t e d b y a single b l a c k d e f e n s i v e m o v e . W h i t e t h e r e f o r e d e c o y s
the black defending piece to another square f r o m which an
analogous d e f e n d i n g m o v e is ineffective. In this p r o b l e m if
W h i t e plays 1 K f 8 immediately, threatening m a t e by 2 Q g 7 or
2 Q f 6 , Black has an effective defense in 1
R f 4 , pinning the
q u e e n . T h e key, 1 K e 8 , leads to t h e subtle t h r e a t of 2 Bh7. W h i l e
Black c a n defeat this t h r e a t by 1
R h 6 , White can now proceed with 2 K f 8 a n d a l t h o u g h 2
R f 6 pins the queen, White
can mate by 3 Q x R .
This final p r o b l e m was contributed by W u r z b u r g for the
v o l u m e T o Alain White, e d i t e d b y E d g a r W . A l l e n a n d E r i c M .
H a s s b e r g , w h i c h F r a n k A l t s c h u l h a d p r i n t e d a t his p r i v a t e
O v e r b r o o k Press a s a t r i b u t e t o A l a i n W h i t e o n his s i x t y - f i f t h
b i r t h d a y , M a r c h 3 , 1945.
Otto
Wurzburg
S O L U T I O N S
N o . 129
1 Bh3 threat 2 Q g 4
P a 5 ; 2 Q a 6 ck, K x Q ; 3 Bc8
else; 3 Q c 8
N o . 130
1 Bg4 threat 2 S b 3
P f 2 ; 2 B f 5 ck, K e 3 ; 3 Q h 6
K e 3 ; 2 S x P dis ck, K e 2 ; 3 Q a 6
K d 3 ; 2 Q f 4 , any; 3 Bf5
Se2; 2 SxS, P x S ; 3 Q d 4
S e 6 ; 2 SxS, a n y ; 3 Sg5
N o . 131
1 Q g 3 threat 2 Bc4 ck, K e 4 ; 3 Q e l
KxB; 3 Q b 3
Kc6; 3 Qc7
Be5; 2 Q b 3 ck, K d 6 ; 3 S f 5
Ke4; 3 Q f 3
BxS; 2 Sc7 ck, K e 4 ; 3 Bd3
Kc5; 3 Q a 3
B a 6 ; 2 Bc6 ck, K c 4 ; 3 Q b 3
K e 4 ; 2 Bc4
N o . 132
1 B a l , P c 5 ; 2 Sc3, K d 4 ; 3 Q e 4
K d 5 ; 2 Q b 3 ck, K x S ; 3 Q f 3
N o . 133
1 Se5 threat 2 Q b 2 , R c 4 - d 4 ; 3 Sd7
R d 3 - d 4 ; 3 SxPg4
R c 4 - d 4 ; 2 Q d 5 , R x Q , ; 3 SxPg4
R d 3 - d 4 ; 2 Q e 4 , R x Q ; 3 Sd7
Sa7 a n y ; 2 Q c 6 ( x ) ck
Pg3; 2 Q f 3 c k
N o . 134
1 Q c 7 threat 2 R e 5
S b 3 ; 2 Sb4
Sb5; 2 Q b 7
Sc6; 2 Q d 7
Se6; 2
Sf3;2
Se2; 2
Sc2; 2
Rh5xP
Sh3xP
QxPc4
Sa2xP
97
14
Chess Problem. Gems
No. 135
1 S b 3 waiting
Sa2; 2 Qb2 ck, SxQ,; 3 Sa3

Sd3; 2 Q a l ck, Kc2; 3 Sd4
Kc2; 2 Sd4 ck, K b l ; 3 Sd2
Kdl; 3 Qal
Sc6; 2 Se3
Sd5;2 Sd4
No. 136
1 Pc7, R a 3 ; 2 Q e 3 ck (threat), K x Q ; 3 R e 6
Q x Q ; 3 Bc6
Pc2; 2 Qe5 ck, KxQ; 3Bd3
QxSe2; 2 Qd4 ck, KxQ; 3 Re6
QxSf4; 2 Qd5 ck, KxQ; 3 Bd3
Sg4; 2 Q f 5 ck, KxQ; 3 Bd3
No. 137
1 Q g 8 threat 2 R g 7 ck, K d 6 ; 3 Q d 5
Kf6; 3 Q f 7
Q e 4 ; 2 S d 5 threat 3 R f 6
QxS; 3 Qg6
Qf5; 2 Rf6 ck, KxR; 3 Sd5
KxS; 3 Q f 8
Pe4; 2 Q g 6 ck, Ke5; 3 Q f 6
Pd6; 2 Rg7 ck, Kd7; 3 Qc8
Pd5; 2 Sc8, Sf5; 3 Qg6
else; 3 Qe8
Qh7; 2 R x Q ck, Kf6; 3 Qg6
Kd6; 2 Rf6 ck, KxS; 3 Q f 8
Q f l ; 2 Qg6 ck, Qf6; 3 Q x Q
No. 138
1 Ke2, R a l ; 2 Be4 ck, Ka2; 3 Qg8
Ra2 ck; 2 Bd2 dis ck, K any; 3 Q c l
Re6 ck; 2 Be3 dis ck, K any; 3 Q c l
Rf6; 2 Bf4 dis ck, K any; 3 Qcl
Rg6; 2 Bg5 dis ck, K any; 3 Qcl
Kc2; 2 Q d l ck, Kc3; 3 Qd2
K b l ; 3 Ba3
Rc6; 2 Ba3 dis ck, Kc2; 3 Qcl
Bb2; 2 Bd2 dis ck, Kc2; 3 Qdl
Bel; 3 QxB
Otto
Wurzburg
N o . 139
1 K d 5 , Sc3 c k ; 2 K c 4 , R f 4 ck; 3 Be4
Se3 c k ; 2 K c 5 , R f 5 ck; 3 Bd5
Sf6 ck, 2 K e 6 , R e 3 ck; 3 Be4
S f 4 c k ; 2 K d 6 , R d 3 ck; 3 Bd5
R f 5 c k ; 2 K d 4 , R c 5 ; 3 Bc6
R d 3 c k ; 2 K e 5 , R c 3 ; 3 Bc6
N o . 140
1 R h 5 waiting
B h 4 ; 2 P d 3 , Bg5 ck; 3 BxB, S a n y ; 4 Bd2
B e l ; 3 Be3
Bg3; 2 Bg7, Be5; 3 BxB
B d 6 ; 3 Bc3 ck, B b 4 ; 4 BxB
B f 2 ; 2 Bf8, Bc5; 3 BxB
N o . 141
1 Q f l threat 2 S f 6 ck, K x B ; 3 Sc4
K x S ; 2 Q f 3 ck, K x B ; 3 Sc4
P d 3 ; 2 Q x P ck, K x B ; 3 Sc4
B f 5 ; 2 Q x S ck, K x B ; 3 Sc4
K x B ; 2 Sc4 ck, K e 4 ; 3 S f 6
P x S ; 2 Bg3 threat 3 Q d 3 ( x )
Sel; 3 Q f 4
S e 3 , f 4 ; 2 Q f 4 ( x ) ck
N o . 142
1 R c 5 threat 2 R e 5
Rc2-e2; 2 Rd5, R d 2 ; 3 Re5
Rh2-e2; 2 Rf5, R f 2 ; 3 Re5
Sf3; 2 Rf5, any; 3 R f 8
K e 7 ; 2 R c 6 dis ck, K e 8 ; 3 R e 6
K f 8 ; 2 R g 5 dis ck, K e 8 ; 3 R g 8
N o . 143
1 R h 7 , S d 4 ; 2 R a 7 , Se6; 3 R a 7 - b 7
Sd6; 2 R a 7 , K d 8 ; 3 R h 7 - g 7
N o . 144
1 R b 5 - e 5 waiting
Kf4,g4; 2 Rel-e3, any; 3 Q b 4
K f 2 , g 2 ; 2 Re5-e3, Pe5; 3 Q b 2
P h 5 ; 2 R g 5 , Pe5; 3 Q f 8
P a 3 ; 2 Q b 3 ck, K g 4 ; 3 R e l - e 4
K g 3 ; 2 R g 5 d b l ck, a n y ; 3 Q g 3
99
14
Chess Problem. Gems
No. 145
1 Q c l threat 2 S x S ck, K b 4 ; 3 Q b 2
Rb4; 2 Qc7 ck, Rb6; 3 Sc6

Pa3; 2 QxP ck, Ra4; 3 Se5-c4
Bc3; 2 QxB ck, Rb4; 3 Se5-c4
Kb4; 2 SxP ck, Ka5; 3 Qc7
SxS; 2 Qc5 ck, Sb5; 3 Sc6
No. 146
1 B f 2 threat 2 R d 4
Q x Q ck; 2 SxQ
Sc4; 2 Qd4
Sc6; 2 Qe3
Sd7; 2 Bf5
Sf7; 2 Bd5
Sg6; 2 Sg5
Sg4; S Rf4
Sf3; 2 PxS
Sd3; 2 PxS
No. 147
1 R b 7 waiting
Kd5; 2 Qa2 ck, Kc5; 3 Se4

Pd3; 2 Sf5, Pc5; 3 Se3
Pc5; 2 Qa6 ck, Kc3; 3 Se4
Kd3; 2 Q f l ck, Kc3; 3 Se4
Pcl(Q); 2 Q x Q ck, Kd3; 3 Rb3
Kd5; 3 Rd7
Kc5; 2 Se2 or Sf5
No. 148
1 Kb6, Ke3; 2 Kc5, Kf4; 3 Kd5, Kf3; 4 Ke5
Kd3; 3 Rf2, Ke3; 4 Kc4
Kd4; 2 Re2, Kd3; 3 Ba6 ck, Kd4; 4 Kc6
Kc4; 3 Ka5, Kb3; 4 Bd5
Kc4; 2 Rd2, K any; 3 Bd5(ck), any; 4 Rd4
No. 149
1 K a 8 threat 2 B a 7 threat 3 Q h 3
Kg3; 3 Q f 2
Pe4; 2 Ba6, any; 3 Q f l
K g 3 ; 2 B a 7 threat 3 Q f 2
Kg2; 3 Qh3
No. 150
1 B e l threat 2 B b 2 ck, K e 3 ; 3 S d 5
Pc4; 2 Qf5, Pc3; 3 Qd5

else; 3 Sb5
Pf2; 2 Qe2, Pc4; 3 Qe3
Ke5; 2 QxP ck, Kf6; 3 Qg5
Otto
Wurzburg
No. 151
1 Rd3, Ra6-b6; 2 Ra3 threat 3 Ra2
Ra6; 3 Rb3
Rh6-b6; 2 RxP threat 3 Rg2
Rc6; 3 Rb3
KxSbl dis ck; 2 Rc3 dis ck, Kb2; 3 Rb3
Kc2 dis ck; 2 Rd4 dis ck, Kb2; 3 Rb4
No. 152
1 S d 4 waiting
Sa3 any; 2 Sd4-c2(x)

Se7 any; 2 Sc6(x)
1 - - PxS; 2 QxS
Pc2; 2 Qel
No. 153
1 Bf5, K f l ; 2 Bg4, Kf2; 3 Bd2, Kg3; 4 Bel
Kf 1; 4 Rf4
Kf3; 2 Kgl, Ke2; 3 Bc2, Kf3; 4 Bdl
K e l ; 4 Re4
Ke2; 2 Kg2, K e l ; 3 Bd3, K d l ; 4 Ral
No. 154
1 R a 8 waiting
Pf3; 2 Q b 8
Ph3; 2 Sf5
S any; 2 Se2(x)
1 - - R x Q ; 2 RxR
R else; 2 QxR
Ph6, h5; 2 QxR
No. 155
1 Q b 6 threat 2 S f 2 dis ck, K g 5 ; 3 Q d 8
Ke4; 2 Qe3 ck, PxQ; 3 Pg4-e5

Pg5; 2 Qg6 ck, KxQ; 3 Sg4-e5
Qd3; 2 Se3 ck, Ke4; 3 Bg2
Qe4; 2 Sg4-e5 ck, Kg5; 3 Qd8
Kg5; 2 Qd8 ck, Kf5; 3 Sf2
No. 156
1 R f 5 waiting
Ba3; 2 R f l ck, Ka2; 3 QxP

Bel; 3 Qb2
Ka2; 2 Ra5 ck, K b l ; 3 Q f 5
Ba3; 2 Qb2
Kc2; 2 Rb5 etc.
101
14
Chess Problem. Gems
N o . 157
1 Q e 5 , Ba3; 2 Bf7, K d 7 ; 3 Q c 7
Bd6; 3 Q e 8
K d 7 ; 2 Bf7, Bd8; 3 Q e 6
Bd6; 3 Q e 8
Kc6; 3 Q d 5
B d 6 , f 6 ; 2 Q d 6 ( x ) ck, K e 8 ; 3 Sc7
K e 8 ; 2 Sb6, K d 8 ; 3 Q b 8
Kf8; 3 Qh8
N o . 158
1 R a 2 , Q c 7 , h 2 ; 2 R a 8 ck etc.
Q c 8 , g 8 ; 2 R h 2 ck etc.
N o . 159
1 Q f 3 threat 2 R x P c 6
P x Q ; 2 Bh3
Q x Q ; 2 Bf5
Pe4; 2 Q x B
Se4; 2 Q d 3
Sa7; 2 Q f 8
S e 7 ; 2 Bc7
Qcl; 2 QxPc5
N o . 160
1 K e 8 threat 2 B h 7 threat 3 Q g 8
RxB; 3 Q f 8
Rh6; 2 Kf8, Rf6; 3 Q x R
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CHESS PROBLEM GEMS

BY EIGHT EMINENT
AMERICAN COMPOSERS
KENNETH S.HOWARD
T h i s is a collection of profound and ingenious chess problems composed by
eight of the most outstanding American composers160 masterpieces in all,
with commentary and solutions in full detail. Any chess enthusiast working
through this treasury will discover one subtle and exciting master problem
after another, and a thorough reading cannot fail to augment the skill and
style of any player, no matter how advanced. In his presentation the author
also goes a long way toward helping the relatively unskilled player to master
these ingenious problems.
T h e work of these composers (with the single exception of Sam Loyd's) is
currently unavailable in any other book, being either out of print or previously uncollected. Loyd is well represented by 24 of his world-famous problems, with their unusual settings, spectacular keys and subtle continuations.
An equal number of problems displays the problemical skill of Henry Wald
Bettmann, the prominent surgeon who was also the most outstanding
American task composer in chess. T h e r e are 32 problems each by William
Shinkman, "the wizard of Grand R a p i d s , " showing his great ability to illustrate a strategic theme with a minimum number of men, and by his nephew
Otto Wurzburg, a master in the blending of elegance of construction with
strategical ideas. Eugene Cook, the earliest of the American masters, is
represented by 8 of his lightweight problems; 16 problems by William
Meredith, including a number of the type now called "Merediths," display
his masterful economy of construction; and finally, George Carpenter, with
his varied and colorful style, and D. J. Densmore, known for his ingenious
illustrations of black interferences, are represented by 12 problems each.
In a group of prefatory essays, the authoran internationally famous
problemist, chess writer and editor, well-known as a judge in problem
tourneysprovides a brief historical survey of chess problem composition
in America, a detailed vocabulary of the specialized terms used in his commentaries and in discussing chess problems in general, and a short explanation of the notation used. T h i s introductory material is especially helpful
to those who wish to find an inroad of study to the expanding world of
chess excitement that this book has to offer.
A Dover original, first published in 1973.
v -f- 102pp. 53/g x 8i/g. Paperbound.
160 problems with full solutions,
A D O V E R E D I T I O N D E S I G N E D F O R Y E A R S O F USE!
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is opaque, with minimal show-through; it will not discolor or become brittle
with age. Pages are sewn in signatures, in the method traditionally used for
the best books, and will not drop out, as often happens with paperbacks
held together with glue. Books open flat for easy reference. T h e binding will
not crack or split. T h i s is a permanent book.
ISBN 0-486-22166-0
$2.50 in U.S.A.

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CHESS PROBLEM GEMS

BY EIGHT EMINENT AMERICAN COMPOSERS

DOVER PUBLICATIONS, INC.

Copyright 1972 by Dover Publications, Inc.

Published in C a n a d a by G e n e r a l Publishing C o m p a n y , L t d . , 30 Lesmill R o a d , Don Mills, Toronto,

Chess Problem Gems by Eight Eminent American Composers

International Standard Book Number:

Henry Wald Bettman

Eight Eminent Composers

Chess Problem. Gems

1846, a n d a s e c o n d , t h e American Chess Magazine, a p p e a r e d in

Eight Eminent Composers

S o t h e a u t h o r believes t h a t t h e selections i n this v o l u m e w i l l

The Problemist's Vocabulary

T H E BASIC d i s t i n c t i o n b e t w e e n a c o m p o s e d endgame a n d a problem i s t h a t i n t h e f o r m e r W h i t e h a s a n i n d e f i n i t e n u m b e r o f

The Problemist's Vocabulary

block a n d incomplete block p o s i t i o n s . In t h e i n i t i a l p o s i t i o n of a

Chess Problem. Gems

The Problemist's Vocabulary

it is t e r m e d a half-pin, since if e i t h e r b l a c k m a n m o v e s off t h e

IO Chess Problem Gems

In the algebraic notation the location a n d moves of the m e n

Chess Problem Gems

t h a t is chosen. T h e symbol V (version), before the n a m e of a

EUGENE BEAUHARNAIS COOK ( 1 8 3 0 - 1 9 1 5 ) , b o r n a d e c a d e b e f o r e

Chess Problem Gems

W h i t e self-mates in three moves

W h i t e mates in four moves

W h i t e mates in three moves

W h i t e mates in four moves

W h i t e mates in four moves

Chess Problem. Gems

W h i t e mates in three moves

W h i t e mates in three moves

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem. Gems

W h i t e mates in three moves

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem. Gems

t w o w h i t e ones, w i t h w a i t i n g - m o v e p l a y a n d a n o n e t o o a p p a r e n t key, is shown in a m i n i a t u r e setting. If Black h a d to

W h i t e mates in three moves

W h i t e mates in five moves

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem. Gems

u n e x p e c t e d p r o m o t i o n key i n t h e w h o l e b o o k . T h e P a w n a p p a r e n t l y b o t t l e s itself u p , losing all o p p o r t u n i t y t o m o v e . T h e

W h i t e mates in three moves

W h i t e mates in three moves

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem Gems

W h i t e mates in three moves

Chess Problem. Gems

No. 31 is typical of m a n y of the two-movers of the era in w h i c h

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem. Gems

Chess Problem. Gems

W h i t e mates in four moves

W h i t e mates in three moves

W h i t e mates in three moves

Chess Problem Gems