In this collection belonging to Daphne Mayo, there are over 100 folders of correspondence: 13 of these folders relate to Daphne Mayo's commissioned and uncommissioned sculptural works. There are over 1400 items of correspondence from Daphne Mayo's parents, Bill and Lila Mayo. There are over 1220 items of correspondence from friends and family of Daphne Mayo. A small number of outgoing letters or drafts are in the collection. There are financial records and related correspondence, bank records, tax records relating to the finances of Daphne Mayo regarding her artistic works, property investments, and investments in bonds and shares. Personal documents of Daphne Mayo are present such as: permits; identification documents; diaries; calendars; handwritten notes, writings, scribblings; and copious lists for all areas of Daphne Mayo's life. There are portrait photographs of Daphne Mayo and of her works from 1919-1974; as well as two albums of photographs taken by Judith McKay when Daphne Mayo's Sydney studio was packed up. Included in the collection are 48 sculpting tools used by Daphne Mayo. The most prolific of Daphne Mayo's works of art in the collection are her drawings and paintings with over 436 artworks, as well as 22 sculptures, and 46 sketchbooks. Retained in the collection are publications, inscribed by Daphne Mayo and others, exhibition catalogues, and newspaper and magazine cuttings given to Daphne Mayo or collected by her. Additionally material that is presumed to be from the estate of Lila Mayo, Daphne Mayo's mother, form part of the collection and this includes 6 folders of letters from 1930 to 1959 from Daphne Mayo to her parents.

Photograph taken by Les Dwyer, Canberra Studios, Manuka of the 11 delegates at the inaugural meeting in Canberra in June 1937 which founded the Australian Academy of Art. Photograph of Daphne Mayo in the front row, with Norman Carter, Sydney Ure Smith, Robert Gordon Menzies (the Federal Attorney-General), Rayner Hoff, and John Eldershaw. In the back row are William Beckwith McInnes, Han Heysen, Robert Henderson Croll, Harold Brocklebank Herbert and William Rowell. All figures identified in pen along lower margin of photograph; photographer's signature lower right margin and studio stamp on verso.

Photographs and illustrations. Includes photgraphs: sent to Mayo (envelope included); picnic lunch of the Orchid Lovers Club (Lila Mayo was probably a member), pictures of orchids, last lunch after happy time at Roberts Plateau; two envelopes of photographs; a photograph of 4 men in arab dress, one of whom is Richard Mayo (Daphne Mayo's brother) (previously in frame that is now discarded). Envelope, that contained xrays (discarded due to vinegar syndrome) with the name 'Miss Mc.Arthur' written on cover, 5 Sep 1963.

Photograph of the sandstone tympanum, entitled 'The Progress of Civilization in the State of Queensland', before being installed above the main entrance to Brisbane City Hall.

Mounted photograph of the tympanum at Holy Spirit Church, New Farm, Brisbane.

15 black and white photographs of Daphne Mayo's most reknowned works glued onto canvas.

Artworks includes paintings, sketches, and drawings. Artwork in folders has not been counted.

Portrait bust of Dame Mary Gilmore. Medium: cream plaster.

Oil on paper on card. Double sided: 1. Self portrait and; 2. Nude in front of mirror (Mayo’s sculpture Susannah). Size of picture is 51 x 41 cm; with backing board and window mount, 73 x 63 cm. Formed part of the Queensland Art Gallery Exhibition Daphne Mayo : let there be sculpture, in 2011.