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Alfred Mazure
Alfred Mazure
Alfred Mazure
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Alfred Leonardus Mazure (8 September 1914 – 16 February 1974) was a Dutch comics artist, novelist and film director, best known for his detective comic Dick Bos, which was one of the most popular comics series in the Netherlands during the 1940s. He also published English-language comics for several British newspapers, including his second-best-known work Romeo Brown.

Key Information

Biography

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Alfred Mazure was born in Nijmegen in 1914. His first comic strips, De Chef (1934–1935), Da's juist iets voor Willy (1935), Jerry gaat speculeeren (1937) and De Havik in Londen (1937) were published in the newspapers De Utrechtsche Courant, the Limburger Koerier and the Dagblad van Noordbrabant (en Zeeland). In 1939 he also published his first comics in Great Britain, namely Erbert (1937–1938) in the weekly Passing Show and Dad in John Bull.[1]

In 1940 he created his famous detective comic Dick Bos, which he signed with Maz. They starred a brave private investigator, Dick Bos, who was a master in jiujitsu and therefore used his fists a lot. The comics were very popular with the youth because during the Nazi occupation all American and British comics were banned and therefore Dutch magazines had to rely on home-made comics to sustain readers' interest. Yet in 1942 even Dick Bos got banned because Mazure refused to turn the comic into a Nazi propaganda strip, despite requests of the Nazi publishing company Ullstein Verlag. Mazure also made five low-budget films based on Dick Bos, which were shot and edited between 1942 and 1946.[1] Two of these were Inbraak (1942) and Moord in het Modehuis (1946).

After the Netherlands were liberated in 1944 Dick Bos was allowed publication again. Yet they caused a severe media scare over their rather violent content. Dutch Minister of Education, Culture and Science Theo Rutten eventually sent a circular among schools to discourage distribution of "violent comics". As a result many comics in the Netherlands were only allowed if they were published in text comics format (which still allowed children to read more) and if the content was child-friendly. Mazure was therefore forced to quit Dick Bos, since no magazine or newspaper wanted to publish violent comics any longer.[1]

Mazure moved to the United Kingdom after the war and naturalized himself as a British citizen. He made several English-language comics, such as Sam Stone (1948–1950) and Bruce Bunter (1948–1950) for the Daily Herald and Romeo Brown (1954–1957) and Jane, daughter of Jane (1961–1963)—a spin-off of Norman Pett's Jane—for the Daily Mirror. In the Daily Sketch he published Carmen & Co (1957–1959), while Lindy Leigh (1967–1970) saw print in Mayfair. For the Sunday Graphic he made a comic strip adaptation of the British TV series The Larkins, while he also adapted the TV soap Crossroads (1972–1973) for TVTimes.[1]

Between 1963 and 1967, when media censorship against comics loosened, Mazure drew new adventures of Dick Bos and made two animated short films based on the character. He was also active as a novelist, writing about the female secret agent Sherazad and detective Ape Dragoner, while also penning down more humoristic titles, erotic stories and travel stories. He died in 1974.[1]

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Alfred Mazure

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Alfred Mazure is a Dutch comics artist, novelist, and film director best known for creating the detective comic Dick Bos, which ranked among the most popular comic series in the Netherlands during the 1940s. Born in Nijmegen, Netherlands, Mazure developed a versatile career that spanned cartooning, painting, writing novels, and filmmaking, while also pursuing interests as a traveler and adventurer. After achieving success with Dick Bos, he relocated to the United Kingdom in the postwar period, where he contributed to British newspapers by originating the adventure strip Romeo Brown for the Daily Mirror and later working on Jane, Daughter of Jane. His work often featured dynamic storytelling and distinctive depictions of characters, reflecting his multifaceted talents across different media and countries. In his later years, Mazure directed films, including Bizarre in 1970, before his death in London in 1974.

Early life

Birth and background

Alfred Leonardus Mazure was born on 8 September 1914 in Nijmegen, Gelderland, Netherlands, as the son of a merchant. He attended Aloysius College, a Catholic secondary school in The Hague, where he was described as a troublesome pupil and was expelled three months before graduation. He subsequently completed his secondary education in Leiden. Mazure received no formal artistic training and developed his skills as a self-taught artist.

Early artistic endeavors and travels

Alfred Mazure, a self-taught artist, began his professional career at the age of eighteen as an illustrator for Geïllustreerd Stuiversblad, a magazine published by the Neerlandia Press Group in Utrecht. At nineteen, he created illustrations for the poetry booklet Verzen Om Voor Te Dragen by H.N. Klooster, published in 1933. While working for the Neerlandia Press Group, he contributed his earliest comic stories to the publisher's regional newspapers, including Utrechtsche Courant, Limburger Koerier, and Dagblad van Noordbrabant (en Zeeland). His first comic strip was the detective series De Chef, centered on police chief Hans Vonk, serialized from 21 December 1934 to 22 February 1935 in those newspapers and released in book format in March 1935. Mazure continued with additional one-shot crime comics, including Da's Juist Iets Voor Willy in 1935, Jerry Gaat Speculeeren in 1937, and De Havik in Londen in 1937. He collaborated with the illustrated magazine De Prins and its children's supplement Jeugdland on Buikje Roodhuid's Wondere Verhalen, which ran from 1938 to 1939. Mazure was among the earliest Dutch comic artists to adopt speech balloons, moving away from the traditional text-under-image format still prevalent at the time. In the mid-1930s, Mazure embarked on extensive travels through Germany, the Balkans, Turkey, and North Africa. In Turkey, after his visa expired, he falsified his passport and was briefly arrested with friends, but escaped through a cell window and fled to the Bulgarian border. His Eastern European journey was chronicled in the illustrated series Door Dik en Dun met Gipsy, published in Haagsche Post in 1936. He later crossed the Sahara on a three-wheeled motorcycle, an expedition documented in the travelogue Met Een Driewieler Door De Sahara, published in 1940 in the magazine Motor. These adventures shaped his approach to dynamic, action-driven narratives in his subsequent work.

Comics career in the Netherlands

Dick Bos series

The Dick Bos series was created by Alfred Mazure in 1940, with the first adventure, "Het Geval Kleyn," serialized in the weekly magazine De Prins from July 1940 to February 1941. Mazure signed his work with the pseudonym "Maz." The protagonist, private detective Dick Bos, is portrayed as a no-nonsense crime fighter and jiujitsu master, with his appearance and action poses graphically modeled after Maurice van Nieuwenhuizen, a real-life judo wrestler and jiujitsu instructor from The Hague. In 1941, the series shifted from magazine serialization to monthly pocket-sized beeldromans published by Ten Hagen, in a compact format measuring 7 × 11 cm with one panel per page. These small hardcover booklets proved highly successful, with some issues reaching circulations of over 100,000 copies during the 1940s and 1950s. The stories featured a hard-boiled detective style combined with graphic violence, as Dick Bos typically subdued criminals using his martial arts skills rather than firearms, contributing to its status as one of the most popular Dutch comics of the 1940s. Publication was temporarily halted during the German occupation after Mazure refused to adapt the series for Nazi collaboration. Following the war, Ten Hagen resumed issuing reprints and new installments from 1946 onward, sustaining the series' popularity. A later revival brought new stories between 1963 and 1967, targeting a new generation of readers.

Wartime production and challenges

During the German occupation of the Netherlands from 1940 onward, the Dick Bos series achieved substantial popularity among Dutch youth due to the unavailability of most American and British comics, with certain issues reaching print runs exceeding 100,000 copies. In 1942, after fifteen booklets had been published, representatives of the Nazi-affiliated Ullstein Verlag in Berlin approached Alfred Mazure with a proposal to transform Dick Bos into a propaganda tool for the regime. The offer included reworking the character as an SS officer or German spy, placing new adventures on the front lines or involving battles against black marketeers, with a guaranteed initial print run of one million copies for distribution in Germany and a blank contract allowing Mazure to name his own fee. Mazure rejected the offer outright, reportedly responding that he did not believe a German uniform would suit his hero. The refusal led to an immediate ban on the series by Nazi authorities later that year, with all existing Dick Bos booklets ordered removed from shops and kiosks, and Mazure explicitly forbidden from further work. The comics were classified as disguised English propaganda, and both Mazure and his publisher, Ten Hagen, were each fined 7,000 guilders for failing to remove the booklets promptly enough. These restrictions halted open publication of the series for the remainder of the occupation.

Post-war period and controversies

After the liberation of the Netherlands in 1945, publisher Ten Hagen revived the Dick Bos series through reprints of existing booklets, which remained highly popular bestsellers among readers. From 1946 onward, these reprints sustained the character's presence, and between 1948 and 1950 Mazure produced new monthly "beeldromans" (picture novels) under contractual obligations to continue the series. The extreme violence depicted in Dick Bos—including fistfights, gunplay, and hard-boiled action—drew increasing controversy in the late 1940s, as parents, educators, preachers, and moral guardians viewed such comics as a threat to youth, promoting aggression and "reading laziness" in place of proper literature. This moral panic escalated in 1948 and triggered widespread public outrage toward the medium. In direct response, Dutch Minister of Education, Culture and Science F.J.T. Rutten issued a circular in 1948 urging school governors to combat the spread of such publications and restrict their presence in educational environments. The ministerial directive, combined with parental bans, public burnings of comic copies, and institutional pressure, led publishers to impose stricter content rules and effectively ended the original, unsoftened violent style of Dick Bos and similar Dutch crime comics. Disillusioned by the relentless negative press, unfavorable contracts, and additional stigma from his wartime publishing in occupied newspapers (despite his resistance activities), Mazure emigrated to the United Kingdom in the late 1940s. He later became a naturalized British citizen.

Film career

Dick Bos short films

Alfred Mazure directed several clandestine 16 mm short films based on his popular Dick Bos comic character during the German occupation of the Netherlands, when the comic series faced restrictions and bans that prevented regular publication. These low-budget productions were made secretly to continue the adventures of the tough detective Dick Bos, starring judo wrestler Maurice van Nieuwenhuizen in the lead role. The films were produced between 1942 and 1946 and include the titles Drank Na Sluitingstijd (1942), Valsch Geld (1942), De Gasman (1942), Inbraak (1943), Moord in het Modehuis (1945), and Zwarte Kolen (1946). Their clandestine nature allowed Mazure to bypass censorship and continue storytelling in a different medium amid wartime constraints.

Later film contributions

In the mid-1960s, while living in Malta, Alfred Mazure experimented with animation using his own technique which he called "Mazimation". He produced two short animated films starring Dick Bos: Jail Break (1967) and The Knight of Malta (1967). In 1970, Mazure contributed the story "The Moranian Treaty" (an episode of his comic strip Lindy Leigh) to the experimental erotic anthology film Bizarre (also known as Secrets of Sex), directed by Antony Balch. The segment adapted elements from Lindy Leigh, with the adaptation remaining faithful to the original panels and dialogue. This marked a later intersection of his comic work with film, distinct from his earlier Dick Bos short films.

Career in the United Kingdom

British comic strips

After relocating to the United Kingdom around 1948 in the wake of controversies surrounding his Dutch work, Alfred Mazure began contributing comic strips to British newspapers. He initially produced detective adventures for the Daily Herald, starting with Sam Stone (1948–1950), which featured a brave crime fighter in serialized episodes. This was followed by Bruce Hunter (1951–1953), another hard-boiled detective series in the same vein. Mazure's most prominent British newspaper work began with Romeo Brown in the Daily Mirror, launching in 1954 and running under his creative control until 1957. The strip centered on a dashing yet inept private detective and ladies' man who solved crimes largely by accident amid comedic, risqué scenarios often involving attractive women and wardrobe mishaps. Mazure both wrote and illustrated the series initially, before departing, after which Peter O'Donnell took over scripting and Jim Holdaway assumed the artwork. His subsequent output shifted toward similar girlie-detective formats, including Carmen & Co. for the Daily Sketch (1957–1959), a detective comic strongly influenced by Alex Raymond and featuring sensual female characters. In 1961, Mazure illustrated Jane, Daughter of Jane for the Daily Mirror, scripted by Les Lilley as a reboot of Norman Pett's classic Jane series, though it lasted only until 1963. He later created Lindy Leigh for the men's magazine Mayfair (1969–1970), depicting an elegant but not overly bright female spy frequently caught in undressing pursuits, drawing inspiration from Harvey Kurtzman and Will Elder's Little Annie Fanny. Mazure also adapted British television programs into comic form, producing a strip based on The Larkins for The Sunday Graphic in 1960 and one for Crossroads in TV Times from 1972 to 1973.

Novels and other works

During his residence in the United Kingdom and subsequent years abroad, Alfred Mazure expanded into prose writing, producing approximately twenty novels from 1961 until his death in 1974. These works encompassed spy thrillers, detective stories, humorous tales, and erotic narratives, often published in English and reflecting his relocation and international audience. Mazure gained particular recognition for the Sherazad spy series, featuring a glamorous and capable female British intelligence agent operating within a secretive department. The series, blending espionage, humor, and adventure, proved popular in the United Kingdom, the Netherlands, and France. Key titles include Welcome Sherazad, first published in 1969 by Tallis Press in hardcover, followed by Sherazad on a Trip in 1972 and Sherazad Uptight in 1974, the latter appearing posthumously. He also authored detective novels starring the hard-boiled investigator Ape Dragoner, including examples such as Ape en het verdwenen bruidje and Ape en het blonde gevaar, which echoed the style of his earlier comic creations and saw translations into other languages. In a lighter vein, Mazure wrote humorous and erotic stories, such as Pigeon Parade in 1962 and Priscilla Darling, alongside occasional works under pseudonyms. While living in Malta and Spain, he contributed travel pieces to the Dutch magazine Wereldkroniek between 1967 and 1969, chronicling his experiences in a series titled "Merkwaardige momenten."

Death and legacy

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