known portraits, including those of Elizabeth Farren, Sarah Barrett Moulton (known to her family as Pinkie) and Charles Lambton (the "Red Boy") found their way to the United States during the early-20th-century enthusiasm there for English portraits. Sir Michael Levey acknowledges that Lawrence is still dismissed by some art historians: "He was a highly original artist, quite unexpected on the English scene: self-taught, self-absorbed in perfecting his own personal style, and in effect self-destructing, since he left behind no significant followers or creative influence. Leaving aside Sargent, his sole successor has been not in painting, but in fashionable, virtuoso photography." The most extensive collections of Lawrence's work can be found in the Royal Collections and the National Portrait Gallery in London. The Tate Britain, the National Gallery and the Dulwich Picture Gallery house smaller collections of his work in London. There are a few examples of his work in the Holburne Museum of Art and the Victoria Art Gallery in Bath, and in Bristol City Museum and Art Gallery. In the United States, The Huntington Library houses Pinkie, and Lawrence's portraits of Elizabeth Farren, Lady Harriet Maria Conyngham, and the Calmady children are in the Metropolitan Museum of Art. In Europe, the Musée du Louvre has a few examples of Lawrence's work, and the Vatican Pinacoteca has a swagger portrait of George IV (presented by the king himself) as almost its only British work. In 2010 the National Portrait Gallery held a retrospective exhibition of Lawrence's work. The director of the National Portrait Gallery, Sandy Nairne, was quoted in the Guardian describing Lawrence as "…a huge figure. But a huge figure who we believe deserves a great deal more attention. He is one of the great painters of the last 250 years and one of the great stars of portraiture on a European stage." In December 2018, a portrait of Lady Selina Meade (1797–1872), who married the Count of Clam-Martinic, painted by Lawrence in Vienna in 1819, sold for £2.29 million at auction, a record for the artist. In literature In the 1848 novel, Vanity Fair, William Makepeace Thackeray refers to "...the Lawrence portraits, tawdry and beautiful, and, thirty years ago, deemed as precious as works of real genius..." Letitia Elizabeth Landon offers a tribute to the late artist in her poetical illustration Sir Thomas Lawrence to Charles Landseer's portrait. This was published in Fisher's Drawing Room Scrap Book, 1833.