​Doris Lockhart Saatchi, who has died aged 88, introduced her husband Charles Saatchi to art collecting in the 1970s and was the driving force behind their earliest spending sprees.
When they opened the Saatchi collection to the public in 1985, behind an anonymous gate sandwiched between a charity shop and a greasy spoon cafe in St John’s Wood, the British public had never seen anything like it. Four times larger than the Whitechapel Gallery and 10 times bigger than the Serpentine Galley, it was a temple to the most cutting-edge contemporary art, much of it conceptual. The Saatchi Gallery became a place of pilgrimage for the future Young British Artists, who later found in Charles Saatchi a patron saint, prepared to bankroll both their work and their hedonistic play.
Before his marriage, however, the advertising executive Charles Saatchi had been more interested in using his wealth to buy vintage Superman comics and jukeboxes. It was in 1970, three years into their relationship, that Doris suggested they purchase a painting by the British artist David Hepher, for their new home together. American art, particularly minimalism, became their passion. Marrying in 1973, and with business booming at Saatchi & Saatchi, Doris and Charles added the likes of Donald Judd, Julian Schnabel and Agnes Martin to the collection.
A 2001 installation at the Saatchi Gallery in its north London premises – Christopher Cox
By the time they opened their vast private museum in North London they had 15 works by Andy Warhol to show, marked a UK debut for artists Cy Twombly and Brice Marden and boasted more paintings by Anselm Kiefer than had ever been seen together in Britain before. To fill the space, one art dealer recalled the couple pulling up in a Rolls-Royce to his gallery, Charles in tennis shorts, Doris a “beautiful blonde girl in a mink coat”, and buying in bulk.
“We had an uncanny sense of agreement about things,” Doris Lockhart Saatchi recalled. “We would walk into a gallery, circle the room, meet up where we had started and discover that we agreed on whether the artist was interesting and even which were the best works. It was thrilling.”
Doris Jean Lockhart was born on February 28 1937 in Memphis, Tennessee, to Nina Tall, a bohemian Russian émigrée, and Jack Lockhart, a journalist who worked as a news censor during the war. Moving to Scarsdale, New York, she graduated from the local high school in 1954, and went on to study art history at Smith College, Massachusetts, from where she was selected – alongside the future art historian Lucy Lippard – to attend the Sorbonne in Paris.
Her conversion to art came when she saw the landscape around Mont Sainte-Victoire: “There’s the Cezanne,” she thought. The first work she bought was a print by Magritte, but she came to believe that many of surrealism’s ideas “could be expressed in words. I went for conceptualism and minimalism.”
After working as contributing editor under Anna Wintour on House & Garden in New York, and a stint at the J Walter Thompson advertising agency in New York, she moved to London in 1965. She took a position as a copywriter at Benton & Bowles and married Hugh Dibley, a racing driver and airline pilot. They separated in 1967, the year she started dating Charles Saatchi, a young copywriter whose boss she had become.
Doris Lockhart Saatchi in 1998 – © Desmond O’Neill Features
Doris Lockhart Saatchi occasionally contributed articles to art magazines and lectured at the Royal College of Art, but spending an annual budget that ran into the millions became a full-time occupation. Some artists and dealers regretted selling so much work to the Saatchis, since they had no scruples about putting works to auction, often to the detriment of the artist’s career; she countered that she was not looking to make a profit.
“I don’t see any problem with selling if your eye has changed,” she said. “People’s sensibilities do alter. I collect because I’m a born collector. Collectors feel compelled to do it. We may all be as neurotic as hell, but there’s no plot.”
In 1983, she sat for the photographer Robert Mapplethorpe, who captured her head, disembodied, against a black background, looking directly into the camera. She donated it to the National Portrait Gallery, and it became the object of fascination for a stalker who later forced her to move home after his harassment. “I know the power a piece of work can have,” she observed.
After opening the Saatchi Gallery in a disused paint depot on Boundary Road in 1985, Doris and Charles published Art of Our Time, a four-volume catalogue of their art collection. Their marriage did not survive the decade. After their divorce in 1990, “Charles became the ‘face’ of the Saatchi Collection, as if Doris had never existed, which was far from the truth,” recalled Janice Blackburn, who worked for the couple.
Doris Lockhart Saatchi lived in a minimalist style after her divorce – Vicki Couchman
Their tastes continued to evolve in uncanny parallel. When Charles’s attention – and wallet – became focused on the Young British Artists, so did his ex-wife’s. “Whenever I visited Damien [Hirst] or one of the new young galleries that were springing up in out-of-the-way places such as Peckham or Docklands, I was told that Charles had just left, or heard later that his visit had followed mine,” Doris recalled. “We were discovering the same art with the same excitement within days, or even hours, of one another.”
This meant they found themselves rivals: when Hirst asked Doris Lockhart Saatchi to help fund the transportation of a dead shark from Austr​alia for the first of his infamous formaldehyde installations, she agreed – only to find that Charles had made an even more generous offer of bankrolling the entire production of the work, giving him ownership.
Doris Lockhart Saatchi continued to collect, later turning her interest to architectural drawings and plans, publishing the book Architects at Home in 1997, as well supporting various charities including Shelter, the Architectural Association and The Architecture Foundation.
Without her ex-husband, whom she thought addicted to clutter, she said she was freer to pursue her interests in minimalism, inhabiting a series of houses in a starkly pared-down style, which she shared with her Burmese blue cats.
She is survived by her brothers Richard and Jeffrey.
Doris Lockhart Saatchi, born February 28 1937, died August 6 2025​
