via Medicine n. 2340 - San Vito - Spilamberto - MO
Timetable:Guided tours only by appointment. From Monday to Tuesday: 9.00 am - 12.30 pm and 2.00 pm - 5.30 pm; On Friday: 9.00 am - 12.30 pm.
The origins of Aceto Balsamico del Duca go back to the end of the 19th century, when Adriano Grosoli was the owner of a prestigious delicatessen established in 1891, where he sold self-produced specialities such as salami, sausages, meat, cheese, wine and Balsamic Vinegar. On Adriano’s death, the company passed to his son Mario and, in 1972, to his grandson Adriano who is the current owner. In 1974 Adriano, with the support of his wife Luciana, decided to devote all their energy exclusively to the production of Balsamic Vinegar of Modena (Aceto Balsamico di Modena). In 1980 his daughter Mariangela joined the company, followed by her sister Alessandra. The historical premises of the company – which are today used for ageing the Traditional Balsamic Vinegar of Modena (Aceto Balsamico Tradizionale di Modena DOP) – is located in a compound centred around an ancient brick kiln, with its characteristic elliptical shape and wooden beam ceilings, which was built during the XVII century. In 1992 a new facility was opened to meet the requirements for new space due to the increasing demand of Balsamic Vinegar of Modena, and this was expanded in 2004. It houses the oak barrels for ageing Balsamic Vinegar of Modena, along with modern bottling line with the most recent technology while maintaining the product’s traditional values. Further a new elegant building for the offices was built just at its side.
The name “Aceto Balsamico del Duca” was chosen by Adriano Grosoli in order to link his product with the prestige of Duca Francesco I D’Este, who was one of the most famous producers and consumers of Balsamic Vinegar of Modena, favourite dressing at the Estense court. The portrait, painted by Velazquez, is shown in the Galleria Estense, Modena. In 1986 the Grosoli family contributed to the restoration of this precious art-work and in 2010 financed both the security system of the portrait and the new frame for the painting.