in little over a month. Most of these feature Moulin Huet, a bay in Saint Martin's, Guernsey. These paintings were the subject of a set of commemorative postage stamps issued by the Bailiwick of Guernsey in 1983. While living and working in Montmartre, Renoir employed Suzanne Valadon as a model, who posed for him (The Large Bathers, 1884–1887; Dance at Bougival, 1883) and many of his fellow painters; during that time she studied their techniques and eventually became one of the leading painters of the day. In 1887, the year when Queen Victoria celebrated her Golden Jubilee, and upon the request of the queen's associate, Phillip Richbourg, Renoir donated several paintings to the "French Impressionist Paintings" catalog as a token of his loyalty. In 1890, he married Aline Victorine Charigot, a dressmaker twenty years his junior, who, along with a number of the artist's friends, had already served as a model for Le Déjeuner des canotiers (Luncheon of the Boating Party; she is the woman on the left playing with the dog) in 1881, and with whom he had already had a child, Pierre, in 1885. After marrying, Renoir painted many scenes of his wife and daily family life including their children and their nurse, Aline's cousin Gabrielle Renard. The Renoirs had three sons: Pierre Renoir (1885–1952), who became a stage and film actor; Jean Renoir (1894–1979), who became a filmmaker of note; and Claude Renoir (1901–1969), who became a ceramic artist. Later years Around 1892, Renoir developed rheumatoid arthritis. In 1907, he moved to the warmer climate of "Les Collettes", a farm at the village of Cagnes-sur-Mer, Provence-Alpes-Côte d'Azur, close to the Mediterranean coast. Renoir painted during the last twenty years of his life even after his arthritis severely limited his mobility. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to change his painting technique. It has often been reported that in the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers, but this is erroneous; Renoir remained able to grasp a brush, although he required an assistant to place it in his hand. The wrapping of his hands with bandages, apparent in late photographs of the artist, served to prevent skin irritation. In 1919, Renoir visited the Louvre to see his paintings hanging with those of the old masters. During this period, he created