The preoccupation of Chantilly, until the Prince died in 1740, was with Japanese Kakiemon designs. Some of his designs were directly inspired by his large collection of the ware, others derived from Meissen versions of these Oriental motifs, such as the “Red Dragon” service, which, in iron-red and gilding, became the Chantilly Prince Henri pattern. Other Japanese patterns simplified and adopted included the quail, partridge, flying squirrel, and pomegranate.

Porcelain produced in the second period was influenced first by Meissen and then by Sèvres, both in modelling and in the use of coloured grounds. Some rare figures reflecting Chinese influence were modelled, as well as bird figures and small statuette flower holders. The main production, however, consisted of domestic ware—plates, jugs, basins, and jardinieres—enhanced by an effective economy of decoration painted in underglaze blue only or at best with a limited palette, which was the result of Royal edicts in favour of the Sèvres. The motif was often small flower bouquets known as Chantilly sprigs or more formal scrolls and plait work.