A well-maintained stable program includes good dental care to keep horses healthy and able to eat properly.
My horses receive regular visits from my longtime equine dentist, Brian Stuart. Unlike human teeth, a horse’s teeth continue to grow and naturally wear, so its bite is constantly changing. Regular dental examinations are important to identify sharp edges or misaligned molars that could make eating uncomfortable. The process of correcting these problems is called floating - filing or rasping an equine’s teeth so that chewing surfaces are smooth and properly contoured. While power floating has become increasingly popular, I prefer the more traditional, all-natural approach of hand filing. Yesterday, Brian came to my stable to examine four-year-old Ulysses and 11-year-old Stewart, the bonded pair of Friesians I adopted last year.
Here are some photos, enjoy.
This is Ulysses, one of two Frisians I last added to my herd. He and Stewart came from The Dorset Equine Rescue in Vermont. It’s wonderful to see them accustomed to their new surroundings and enjoying the company of my other horses.
Ulysses and Stewart are two of the five Friesians in my stable. They join my donkeys and my Fell pony. This is what I call the “run-in” pasture. It is the largest of my fenced in paddocks and has a sizable shelter where the horses can gather for shade or food, etc.
Back in the stable, Brian checks out Stewart’s teeth. Brian says his molars are in good condition, but will have to watch the front to make sure they remain well aligned.
Unlike human teeth, which are covered in a hard, smooth enamel layer, horse teeth are coated in cementum, a softer and more porous material making them more prone to staining from food, soil, and minerals. This is why horse teeth can look dull or discolored even without visible decay.
Next, Brian visits Ulysses, the younger horse. Brian has been practicing for more than 35-years. He always works in the horse stalls where they are most relaxed.
The key to working with horses is to gain their trust, which in turn helps them calm down. Brian spends a few minutes just talking to Ulysses before he begins working.
He starts by checking the front teeth.
Much of Brian’s work is done through feel. He feels for any abnormalities in the mouth. Horses have 42 teeth in all. Of those, 24 are molars and premolars that are constantly growing and being worn away.
These are Brian’s tools of the trade. They are called floats. Floats are about 21-inches long. The long handles allow Brian to get to the back molars.
Brian soaks them in a Chlorhexidine solution, an antimicrobial disinfectant.
Each float is fitted with a sharp tungsten carbide blade made of chips that are bonded to the base. This is what files each tooth during the floating process. Brian has 10-floats in his bucket. The floats also come in varying angles for use on different teeth.
This is an “s” file, a two-sided file used for finishing areas and for polishing the front of the molars section where the horse’s bit sits.
Brian uses a float to file any uneven or high edges of the front molars. The process of teeth floating and occlusion adjustment are not painful, but the sound of the rasp may need some getting used to, especially for a horse that is new to dental care.
For a young horse like Ulysses, he’s doing quite well.
Next, Brian places what is called a McPherson full mouth speculum on Ulysses.
The speculum keeps the horse’s mouth open during the floating process.
Now he is able to float the back molars easily.
Brian stops every so often to feel and reassess the tooth being floated. Afterward, Brian does some finishing touches with the “s” file. Brian also continues to speak softly to keep the horse relaxed.
In most cases, the horse feels the changes right away – he should be much more comfortable now.
After their dental appointments, Helen walks them to their pasture, where they are turned out to run and enjoy the mild summer weather. It’s always comforting to know the horses, my pony, and the donkeys are well-cared for, happy and healthy here at my farm.
Effective orchard maintenance requires year-round care, from seasonal pruning and fertilization to irrigation and regular grooming.
At my farm, the orchard surrounds my pool and is home to more than 200 fruit trees, including a variety of apples, plums, cherries, peaches, pears, medlars, and quinces. Each season, these trees reward me with an abundance of delicious, sweet fruit. Keeping such a large orchard healthy and looking its best is no small task. Right now, my outdoor grounds crew is carefully manicuring the pits beneath each tree — the prepared areas that provide support for the trees and their roots. It is meticulous and time-consuming work, but as I’m sure you will agree, the results make all the efforts worthwhile.
Enjoy these photos.
I planted this orchard in 2017. Many of these trees were started as bare-root cuttings. They’ve grown excellently over the years. Fruit trees need a good amount of room to mature. When planting, be sure to space them at least 15-feet apart.
The peach trees still have many fruits. They are so delicious this year.
And the apples are also growing nicely – we should have a bountiful apple season come fall.
Before any tree pit is groomed, the crew feeds the trees with Miracle-Gro Fruit & Citrus Plant Food Spikes, which will promote more fruit and lush foliage.
Each spike is inserted into the soil where it will release food slowly. I usually put a couple under each tree.
I also use natural tree “crutches” to support limbs weighed down by fruit. Notice the natural notch that supports the branch. These crutches are repurposed from felled limbs around the farm.
Arnold sets up the twine. I encourage my crew to use twine to line the spaces whenever they do this kind of work. Arnold secures the twine at one end of each row. This takes time to do, but this is a very important step in the process – it will guide all the work that is done.
We use gardener’s twine to line up the squares so it is perfectly straight down each row of trees. The bright color makes it easier to see in the grass.
I wanted each tree pit to be about four feet square. My outdoor grounds crew foreman built simple wooden square frames that could be placed down and removed easily.
The frame is secured with latches and hooks to ensure it is perfectly square.
Any grass within the frame is trimmed and covered.
Wheelbarrows are brought in full of mulch made right here at my farm.
It takes about a wheelbarrow and a half to cover the tree pit sufficiently.
Using a hard rake, the mulch is spread out evenly. Using the frame also allows the crew to bypass edging, which could harm the roots.
And the mulch layer should never be more than about two to four inches deep. This depth provides moisture retention, temperature regulation, and weed suppression without suffocating the tree.
The mulch is then tamped down carefully to create a well-shaped tree pit.
Once the pit is formed, the wooden frame is removed slowly and carefully.
The most important tip is keep the trunk of the tree “bare to the flare,” meaning nothing should ever be above the tree’s flare – the point where the tree stops widening at meets the roots.
The trees look so great already – I love the geometric appearance of all the square pits.
The crew has completed a good number of pits already. Maintaining a garden space correctly and thoughtfully will go far beyond just growing plants and trees, it will encourage vibrant growth and higher yields, which are very good things.
The next time you’re looking for something interesting and inspiring to do, consider visiting an antiques shop or gallery. It’s a great way to discover and appreciate one-of-a-kind pieces while learning about the history, craftsmanship, and stories behind them.
My operations director, Matt Krack, enjoys antiquing in his free time. Recently, while driving through Maine, he stopped at The York Antiques Gallery, a multi-dealer shop featuring an eclectic collection of 18th-, 19th-, and 20th-century furniture and decorative arts. With more than 30 booths and display cases, the gallery is filled with fascinating pieces to explore, learn about, and perhaps even take home.
Enjoy these photos.
The York Antiques Gallery is located on scenic Route One in York, Maine, in the southern part of the state. The gallery contains a large inventory of items from everyday household objects to rare and ornate pieces. Dealers from New England and other areas are always changing and updating their displays.
Many of the pieces are decorative. This is a vintage wooden rooster.
And here is a vintage metal horse, covered in a nice patina, the green film on the surface produced by oxidation over time.
Some pieces are more functional. These are vintage curtain tiebacks or pullbacks – decorative accessories that gather and hold curtains away from the window frame, allowing more light inside.
Old cookie cutters are always an interesting find. Cookie cutters date back to the 1800s and can come in interesting and whimsical shapes.
Matt also admired these books on Maine – a nice and well cared for collection. Collecting old state books — antique, vintage, or rare — offers a unique blend of historical value, personal connection, and aesthetic appeal.
This is a 1930s Yellow Ware Pitcher. Yellow Ware is a type of highly-fired earthenware pottery made from a rich yellow clay body with a clear glaze that gives it its distinctive warm golden-yellow color. It was produced in both England and North America and became a popular style of pottery in its time. I have a very large collection of Yellow Ware.
This is a Treenware Cream Skimmer. Treen, literally “of a tree” is a generic name for small handmade functional household objects made of wood. A cream skimmer is a tool used to separate cream from milk by lifting or skimming the fat layer that rises to the top. This one dates back to the 18th or 19th century.
The bowl is Lusterware, or Lustreware. This is a type of pottery or porcelain that features a metallic glaze, giving the effect of iridescence. The ball inside is a hollow glass float, which was used to keep fishing nets afloat.
Another type of pottery is called Faience. This pottery is a type of glazed ceramic known for its bright, glassy surface, originating from both ancient Egyptian quartz-paste ceramics and later European tin-glazed earthenware. The word “faience” comes from Faenza, an Italian town famous for tin-glazed pottery, and the French term “faïence” became widely used across Europe.
On this wall is an interesting diamond-shape basket. Walking through an antiques shop gives visitors a glimpse of what was handmade or popularly used during a certain time.
Here is a charming painting of an old barn in winter.
And here is a Folk Art painting of a dog eyeing a rat or mouse in its cage. This is signed by artist A.E. Boulanger, a 19th century painter known for creating small-scale handcrafted works of oil on canvas.
Silhouette prints featured a style of black-and-white profile portraits that originated in the 18th and 19th centuries. These prints were often used as a form of identification or as decorative art in the home. They are typically hand-cut paper profiles, sometimes reverse-painted or framed in ornate wood, and often depicted individuals, couples, or scenes.
These are considered “smalls” or small and often charming vintage or antique items. These “smalls” are mourning brooches – commemorative pieces worn to honor and remember a deceased loved one.
This likely came from an old hardware store. It is a vintage storage unit for screws and nails.
Do you collect Steiff animals? Steiff is a German heritage brand renowned for high-quality stuffed animals and plush toys, famous for its craftsmanship. This is a tiny Steiff owl.
Handmade wood carvings are also often found in antique shops and galleries. This one reads “A Souvenir of the Land of Evangeline” which refers to the Henry Wadsworth Longfellow’s 1847 poem, Evangeline, A Tale of Acadie.
Do you have andirons in your fireplace? Andirons are metal supports, usually used in pairs to hold firewood raised and in place, allowing air circulation and preventing logs from rolling out.
After some time browsing through the many interesting vintage and antique items, Matt went home with a collection of flower paintings by a 12 year old girl in the 1800s. Antiquing is a mix of luck, skill, and timing, and the “finds” can vary widely, but it’s a wonderful way to learn. And as I always say, one should “learn something new every day.”
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