A Mark of Trust: Norio Azuma and the 1969 Bankers Trust Reference

Among the preserved records of Norio Azuma’s artistic and professional correspondence, one letter stands out for its tone of credibility, trust, and cross-industry respect. Dated June 12, 1969, and sent by Geo. A. Moeckly, Vice President of Bankers Trust Company of Des Moines, Iowa, this document was written in support of Mr. Shirley Percival Jr., who had expressed interest in conducting business with Azuma and his company.

At first glance, the letter appears to be a simple business reference. Yet, upon closer examination, it offers valuable insight into the network of professional relationships that surrounded Norio Azuma in the late 1960s—an era when he was gaining significant recognition in the American art world. It also reflects how his reputation as a serious artist and reliable partner extended beyond the boundaries of the art community and into the wider circles of business and commerce.

The Bankers Trust letter introduces Mr. Shirley Percival Jr. as the Secretary-Treasurer of Green Colonial, Inc., a company that specialized in manufacturing warm air, gas, oil, and electric furnaces, as well as residential central air-conditioning systems. With distribution throughout the Midwest under the Green Colonial brand, the company had been a long-standing client of the bank since 1933. The letter also mentions that Mr. Percival’s brother, Wright Percival, served on the board of the bank—underscoring the family’s established standing in the Iowa business community.

Geo. Moeckly’s words are measured yet warm: “We have had an excellent relationship with Mr. Percival and the company over the years as all obligations and accounts have been handled strictly as agreed. In our opinion, Mr. Percival would be good for any commitments he would make within reason. We do not hesitate to recommend him to you.”

This letter was sent to Mr. Norio Azuma at his 14 Green Street address in New York City—the same year as other surviving letters indicating growing interest from clients and collectors nationwide. Together, these correspondences show how Azuma’s art reached far beyond the gallery walls, intersecting with individuals and enterprises who admired his craftsmanship and sought to work with him in meaningful ways.

In historical context, such a letter reveals the formality and mutual respect that underpinned Azuma’s business dealings. It also emphasizes how his professionalism encouraged trust from figures outside the art world. Artists of his era often had to balance creative vision with business acumen, and Azuma’s careful record-keeping and thoughtful communication ensured his success in both.

More than half a century later, this letter stands as a subtle yet powerful document of Norio Azuma’s integrity and the esteem in which he was held by both patrons and peers. It illustrates a moment when art and commerce met under the shared value of trust—a quality that defined Azuma’s legacy as both an artist and a professional.

SEO Keywords: Norio Azuma, Bankers Trust Company, Shirley Percival Jr., Green Colonial Inc., 1969 correspondence, Japanese American artist, art business relationships, NorioAzuma.org, modern art history, New York art scene 1960s.