The University of Queensland

In 1960, she closed the studio in Sydney and returned to Brisbane, completing her last monumental public commission of the statue of Sir William Glasgow in her later years. This huge commission also took its toll on Mayo, compounded by very critical press reporting:

... All my dissatisfaction really stems from the fact that I don't like the figure, and hate to think of such a mass of metal erected as a permanent memorial to Sir William - and myself ...^[21]

Still very heavily committed to the promotion of art in Queensland, Mayo became the first woman trustee of the Queensland Art Gallery, under the Directorship of Laurie Thomas in 1960. Purchases of major sculptures were made during this time, including the works of Harold Parker, Kathleen Shillam, Rodin and Despiau.

Following Thomas' controversial resignation from the Gallery and the unpopular appointment of James Wieneke, Mayo and Robert Cummings both resigned in 1967 as trustees. A public outcry was vented in the local press, prompting Mayo to refer to the running of the Gallery as a theme for a Gilbert and Sullivan opera.

Having worked her entire life committed to the arts, she became despondent. A draft of a letter to her lifelong friend, Lloyd Rees, reflects this:

... I now have a glorious freedom from responsibility feelings where the Gallery is concerned - I have had a great feeling of responsibility about it most of my life - but now circumstances are such that nothing I can do will change the state of affairs - and I don't believe in worrying over things that can't be remedied. Time no doubt will correct the incredible situation! ^[22]

In the draft Mayo also writes:

... I have not worked much in my studio this year - I felt absolutely fed up with art - didn't want to do it didn't want to see it. I've poured enthusiasm into it since the age of 12. So no wonder I want a change of thought for awhile - However "I'll be back in the Army next year" .... ^[23]

Despite this despondency she ends:

... Brisbane is full of flowering trees at present, which makes a grand sight. ... Your little card arrived yesterday and has given me great pleasure ... Now I want to thank both of you dear people very warmly for being so perpetually kind to me, in spite of fearful odds! ^[24]

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Left: Portrait relief of Dr F W Robinson, 1965 [JMM no.184] UQFL119_pic037

Following the death of her very close friend Vida Lahey in 1968, Mayo shied away from public life and friends. Mayo lamented in an interview with Susan Davies in the Sunday Mail in the 1970s:

... All my life I've wanted a period when I wasn't doing commissions and had time to think about my work and what I would like to do myself. That's just what I've been doing for the last few years, and I've really enjoyed them... ^[25]

She retired from public life in 1974, and following ill-health she entered a nursing home in 1979. She remained there until her death in 1982.

Daphne Mayo had led an extraordinary life as reflected in her prolific output of monumental public and private commissions, both in Queensland and elsewhere in Australia. In conjunction with Vida Lahey, her unprecedented and enduring support for Queensland art has left a lasting and compelling legacy for all Queenslanders.