Australian Dictionary of Biography

Harold Schenberg

University of Western Australia

Harold Schenberg (1930–2000), dermatologist, art collector, and philanthropist, was born on 17 February 1930 in Perth, son of locally born Kitty, née Walters, and her English-born husband Isidore (Isaac) Schenberg, government clerk. Isaac’s parents had migrated to Australia in 1895 from Warsaw, then under Russian control, via England, and the family had quickly been absorbed into the life of Perth’s Jewish community. Harold grew up in what he described as ‘a very poor family,’ and later remembered that as a boy he was often ‘busy being serious’ (Scourfield 1994, 18).

Showing early academic talent and an interest in the arts, after education at Highgate Primary School Schenberg won a scholarship to Perth Modern School. In 1947 he graduated with six distinctions, and the following year he enrolled in medicine at the University of Western Australia, where in his first year he gained good grades in physics, chemistry, medical botany, zoology, organic chemistry, and mathematics. As UWA’s medical faculty was not established until 1957, students continued their studies at the University of Melbourne or the University of Adelaide—Schenberg chose Melbourne (MB, BS, 1953). While studying he played piano professionally to support himself, and he became an accomplished pianist, particularly in jazz, a skill he continued to develop throughout his life.

After completing his studies, Schenberg worked for ten years in general practice in Perth. He then undertook five years of specialist training in dermatology in Melbourne, Sydney, London, and New York, before returning to Western Australia, where he set up his own practice in West Perth. He became a successful and prosperous dermatologist with a loyal client base, and would continue practising until six weeks before his death.

Schenberg used his wealth to become a prominent art collector in Perth and beyond. Friends described his love of art and beauty as a defining aspect of his personality. His collection, renowned for its scale and vibrancy, comprised an extensive array of porcelain in addition to paintings and sculptures. He personally selected pieces from across Australia as well as Paris, London, Edinburgh, Dublin, and New York. ‘I never bought for investment, only for love,’ he asserted; ‘because I am a bachelor, I am able to indulge this passion’ (Australian Jewish News 2000, 40). In 1994 he became the first patron of the Art Gallery of Western Australia (AGWA) foundation, having donated over $1.5 million in under ten years.

A colourful character in both figurative and literal terms, Schenberg was often seen driving the streets of Perth in a persimmon-coloured Rolls Royce or yellow, green, and orange Mercedes sports car. He donned a range of bold costumes, including a jockey’s outfit and a canary-yellow jacket—the latter when meeting Queen Elizabeth II on her visit to Perth in 2000. Even at work he wore colourful gowns rather than conventional medical white. His rooms, with brightly painted walls and artworks, were often mistaken by passers-by for a creche. In the Canberra Times Stephen Scourfield described his Kings Park Avenue apartment as ‘a remarkable place: a Neverland of personal tastes and whims. Its walls covered in art, it is a place which reflects the collector’s “no compromise” attitude towards life’ (1994, 23). In the garden the author reportedly discovered a swimming pool—not containing water, but a teddy bear wearing a mask and snorkel—and an inflatable paddling pool filled with colourful wooden ducks. Friends described the apartment as an Aladdin’s cave.

When hosting parties, Schenberg would perform for guests on his Steinway grand piano. He reflected: ‘I should have been in entertainment. Danny DeVito, eat your heart out’ (Scourfield 1994, 23). A loquacious nature and quick wit drew comparisons with Noel Coward. His bridge teacher and friend Peter Smith described his ‘endless supply of clever witticisms and sparkling repartee,’ as well as a penchant for cheek: ‘that was a thing about Harold—a little wickedness was never far away’ (Smith 2000, 10). At times this verged on the acerbic, with one writer referring to his ‘caustic comments in a rasping tone’ (Ingram June 2000, 55) at art viewings. He described himself as having ‘absolute zest’ (Scourfield 1994, 23) and appreciation for life.

Following several years battling cancer, Schenberg died on 11 June 2000 at Crawley. In February that year UWA had conferred an honorary doctorate of letters on him. At his funeral, recordings of him performing his piano pieces were played, the final track punctuated by his recognisable laugh. Many of his dermatology patients attended. The decorative arts specialist Richard Gordon described his art collection as one of the most significant on the Australian market. From his estate Schenberg left $3 million to UWA, $2 million to build a study centre at the Lawrence Wilson Art Gallery, and $1 million to fund two annual art and music awards, both of which bear his name. He also left a substantial collection of works to the AGWA. A scholarship offered by the Perth Institute of Contemporary Arts was also named in his memory.