Founded in 1824, the Vista Alegre Porcelain Factory was the first industrial unit dedicated to producing porcelain in Portugal. The persistence of its founder, José Ferreira Pinto Basto, was determining to the launching and success of this daring enterprise. A landowner, audacious merchant and distinguished figure in Portuguese society at the time, José Ferreira Pinto Basto wisely adopted the liberal ideas of the 19th century, having become “the first example of free initiative” in Portugal. The factory started by producing glassware and soapstone pottery, since the composition of porcelain clay was still unknown. The factory produced high-quality glassware, particularly pieces with relief decorations, engraved patterns and ornate borders, as well as delicately engraved medallions. In 1880, Vista Alegre ceased its glassware production to focus exclusively on porcelain. In order to overcome difficulties related to porcelain production, Augusto Ferreira Pinto Basto, the founder’s son, visited the Sèvres Porcelain Factory in France, where he studied the composition of porcelain clay and acquired knowledge that would be crucial to the discovery of large kaolin deposits to the North of Ílhavo, in 1832. Regular porcelain production between 1832 and 1840 led to significant improvements in the quality of porcelain and glass. Production also benefited from technological progress. Additionally, the hiring of international master craftsmen with extensive experience in ceramics allowed the training of local artisans, who became highly qualified in porcelain production. In 1851, Vista Alegre participated in the Universal Exhibition at Crystal Palace, in London. In 1867, the company achieved international recognition at the Paris Universal Exhibition. In 1852, a complete dinner set was produced for the Royal House, following a visit by King Fernando II to the Vista Alegre Factory. Greater industrial development was witnessed in the following years. Styles became simpler, acquiring lyrical and romantic undertones, and new mechanical decoration techniques were introduced. However, the turn of the century marked the start of a business downturn. The social crisis and political unrest felt over the entire country led to serious difficulties for the company, which were further aggravated by poor commercial management and a lack of defined artistic trends. These difficulties would persist until the beginning of the 20th century. The company would enter a recovery period with the appointment of João Theodoro Ferreira Pinto Basto as Deputy Director, in 1924. Industrial development and business growth were accompanied by an artistic revival. Modern styles, such as Art Deco and Functionalism, revealed the company’s ability to adapt to the social and aesthetic changes that characterised the beginning of the 20th century.