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

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.