Biographical essay of the sculptor Daphne Mayo. Typescript with minor handwritten corrections throughout the text.

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.

Papers, correspondence, photographs, newspaper cuttings and ephemera relating to Frederick Thomas and Elizabeth Brentnall and their family, in particular their daughter Flora Harris and grand-daughter Noela Denmead. Photographs and papers relating to Daphne Mayo and her work on the Queensland Women's War Memorial in Brisbane, Australia, in the early 1930s.

Daphne Mayo and Vida Lahley were mentors, teachers and friends to Mim Shaw. After the death of Daphne Mayo in 1982, Mim was one of the organisers of the 'Friends of Daphne Mayo' group, and her address was used in correspondence for the group. This group was the publisher of Judith McKay’s memorial booklet Daphne Mayo : a tribute to her work for art in Queensland, published in 1983. Mim wrote and/or drafted correspondence regarding the booklet, promoting it and sending it to people and libraries as required. Mim also wrote an account of Vida Lahey, as suggested to her by Daphne Mayo. Mim assisted with Vida Lahey's afternoon painting and drawing classes for children in the 1940s in Brisbane. Material for all three artists are in this collection.

After the death of Daphne Mayo on 31 July 1982, a group of friends decided to commemorate her public work for art in Queensland. Those involved included: Lloyd Rees, Professor Robert Cummings, Robert Haines, Judith McKay, Mim Shaw, sculptor colleagues, art dealers, and members of Mayo and Lahey families. From this, the Queensland Art Gallery agreed to have a casting done in bronze from 'Susannah' a plaster model by Mayo; and Judith McKay wrote Daphne Mayo : a tribute to her work for art in Queensland which was published by The Friends of Daphne Mayo in 1983.

Mim Shaw was one of the organisers of the 'Friends of Daphne Mayo' group, and her address was used in correspondence for the group. Mim wrote and/or drafted correspondence regarding the Judith McKay booklet, fundraising for it, promoting it and sending it to people and libraries as required.

These postcards and prints were collected by Daphne Mayo during her travels in Europe and were used to inform her artistic work. The postcards (300), are mostly blank, and are mostly of historical buildings and sculptural art works in Europe. Some postcards have notes written by Daphne Mayo and some are addressed to her from friends. Newspaper cuttings, pictures cut from magazines and a line drawing are among the postcards.

Content in this series is mostly created by Muriel Shaw and reflects her work and association with Vida Lahey, Daphne Mayo, the Half Dozen Group of Artists, teaching, and her artistic interests.