Approximately 100 letters (including telegrams) from 29 Apr 1940 to 21 Nov 1949. Correspondents include: A.B. Burton; Public Library of New South Wales regarding the doors; Hennessy, Hennessy & Co.; Brisbane Crematorium; Moir & Sutherland; T.C. Davis (High Commissioner for Canada) regarding his purchase of "Blackie"; Rev. Colin C. Chittleborough of St. Jude's Rectory, Brighton; Queensland National Art Gallery regarding the "Lloyd Rees" Sculpture; David Jones' Art Gallery; Mary Corkery, Artists' Agent; Royal S.A. Society of Arts; John Eldershaw regarding the bust of Professor Duhig; Mary P. Harris; National Gallery of Victoria.

Approximately 80 letters (including telegrams) from 5 Mar 1950 to 26 Oct 1959. Correspondents include: C.G. Pilling (Monumental Sculptor); National Gallery of South Australia regarding making another casting of the bronze head of Lloyd Rees; Youngs Pty Ltd (Customs, Shipping and Forwarding Agents); The Macquarie Galleries; John Galizia (Fine art founders); National Gallery of New South Wales, including letters about the "Dr Christine Rivett Bronze", "Kathleen", and copyright; Australian Physiotherapy Assocation; Moreton Galleries; Jack Mulholland (Consulting engineer); Brisbane City Council regarding damage to the Women's War memorial; Newcastle War Memorial - Cultural Centre Committee; University of Queensland, including letters about the bust of J.D. Story; The Art Bronze Foundry (London): and the Winton Shire Council regarding the inscription of the Waltzing Matilda Monument.

Letters (approximately 38) from 29 Jan 1960 to 7 Oct 1968. Correspondents include: The Australian Women's Weekly; G.A. Blackburne, Architect; Art Bronze Foundry, London; University of Queensland; The Council of Knox Grammar School; Queensland Cane Growers' Council; Commonwealth Art Advisory Board; Battaglia & C., Milano (addressed 'To the valued Sculptrix'). On the back of one letter (21 Jul 1964), addressed to Vida Lahey, there are notes "My complaints" regarding one of her works (possibly the Glasgow statue).

Letters and telegrams (approximately 10) from 8 Apr 1970 to 4 Mar 1976. Correspondents include: D.M. Cameron (Member for Griffith) with copies of letters from the Attorney-General, Canberra, regarding copyright of sculptures in public places; Macquarie Galleries; Fryer Memorial Library of Australian Literature regarding acquiring a donation of a sculputure by Mayo; and Judith McKay.

Undated letters to Daphne Mayo. Correspondents include: Lord Mayor's Office (invitiation to morning tea in her honour); Sculptors' Society of Australia (acceptance of her as a member); David Jones Art Gallery (copy of a letter to G. F. Lewers); C.F. Bennett; Queensland National Art Gallery (acknowledging her application for position of Director at the Gallery); J.C. Selwyn King; William Bustard; Wilson & Co. ; and Grosvenor Galleries.

These letters written by Daphne to her parents are presumed to be from the estate of her mother, Lila Mayo. Daphne wrote letters to both her parents and to each parent individually.

William McArthur Mayo (Bill) and Eliza Mary (Lila), née Saxelby corresponded frequently with their daughter Daphne. Sometimes both parents would write individual letters to Daphne on the same day, at other times they would each write in the same letter, and they would also write to her individually. There are approximately 1422 items of correspondence in this subseries dating from 1919 to 1959. Bill would often write about financial matters including Daphne's rental property in Brisbane. Occasionally Lilia would get the date wrong and, if discernible, this date has been corrected in pencil on the letter. As Lila's health deteriorated, her handwritten became more difficult to read.

Correspondence from Daphne Mayo to her parents.

Correspondence from Daphne Mayo to her parents.

Correspondence from Daphne Mayo to her parents.