Source: https://myreversostory.com/series/mucha-precious-stones
Summary: Four gemstone women from 1900, and the one time this whole enamel programme left the wrist entirely. Every other Mucha Reverso in this archive is a…
Updated: 2026-09-11
Publisher: My Reverso Story (https://myreversostory.com), an independent collector archive, not affiliated with Jaeger-LeCoultre.

Artistic Edition

# Reverso Montre de Poche “Pierres Précieuses” — Alfons Mucha

Four gemstone women from 1900, and the one time this whole enamel programme left the wrist entirely.

**Introduced**1999–2000

**Crafts**Grand feu enamel miniature painting, Miklos Merczel · gem-setting

**Edition size**Production quantities not documented

**Movement**Calibre 822 (Topaze, Améthyste) / Calibre 823 (Rubis, Emeraude)

**Case**18k white or yellow gold, pocket-watch form, set with diamonds and matching gemstone baguettes

**Pieces in set**4

Every other Mucha Reverso in this archive is a wristwatch. These four are not — they’re Reverso *Montres de poche*, full pocket watches with the reversible case flipped up on a hinge inside a jewelled cradle, the enamel miniature mounted where a fob watch’s portrait would traditionally sit. The subject is Mucha’s *The Precious Stones*, four 1900 lithographed panels personifying Topaz, Amethyst, Ruby and Emerald as women dressed and lit to match each gem’s colour. Jaeger-LeCoultre made all four in enamel: Topaze and Améthyste first in 1999, Rubis and Emeraude following in 2000 on an updated calibre. Every case is set with diamonds and baguette-cut stones matching its gem, and the cradle itself can be personalised with an enamelled monogram in a colour keyed to the watch’s palette. This places the series squarely in the earliest years of Miklos Merczel’s enamel workshop — after the 1996 Four Seasons, in the same run of years as Clair de Lune and Étoile du Matin — though unlike those wrist pieces, exact production numbers for Pierres Précieuses have not surfaced in any source we’ve found; we’re leaving that figure blank rather than borrowing the Four Seasons’ 25-piece run without evidence.

Click any piece to turn it over

### “Topaze”

After Alfons Mucha, The Precious Stones: Topaz, 1900

The dreamiest of the four figures, per the Mucha Foundation’s own description of the original — auburn hair, a circular mosaic halo, and an ochre-and-turquoise palette that Jaeger-LeCoultre’s enamellers had to rebuild almost from scratch, since the original lithograph’s colours had faded well past their original intensity by the 1990s. Miklos Merczel: “the difficulty lay in finding shades which corresponded to the variations of topazes and amethysts chosen by Mucha, particularly as the original colours had lost much of their intensity and we had to accentuate them in order to restore their full radiance and depth.”

### “Améthyste”

After Alfons Mucha, The Precious Stones: Amethyst, 1900

A field of violet and mauve tones built to track the natural colour range of amethyst itself, paired with Topaze as the first half of the set in 1999. The two were explicitly conceived together — JLC’s own launch copy calls them “odes to women and to lovers of horological beauty,” each cradle’s monogram enamelled in a shade pulled from its own watch’s palette.

### “Rubis”

After Alfons Mucha, The Precious Stones: Ruby, 1900

Arrived a year after Topaze and Améthyste, on the newer calibre 823 rather than 822. Miklos Merczel again: “we had to find the palette of shades inherent to each stone and choose those which correspond to the choices made by Mucha … we accentuated the various hues of ruby and emerald to enable them to glow with their full radiance and express their symbolism.” White gold case set with brilliant and baguette-cut diamonds.

### “Emeraude”

After Alfons Mucha, The Precious Stones: Emerald, 1900

The fourth and final panel of the set, paired with Rubis on the same calibre 823 platform in 2000 — completing all four Precious Stones in enamel, a full decade before Mucha next returned to the Reverso in 2018.

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