Vivien Bass, from Agenda Viaggi, gives her impressions on The Snop House.

"Welcoming works in a space has to be an emotional decision – art is a visual operation method, a dynamic that is constantly on the alert, and a network of references that is constantly expanded. It’s a passion. It’s exciting."

“Para dormir en un hotel enclavado en el mas genuino ambiante local, The Snop House. Regentado por Olivier, un francés que liego a Malta hace mas de 20 anos, cada una de sus seis habitaciones hace referencia a un hecho cultural maltes.”

"The owner will happily and proudly guide guests around the art collection (some guests have characterised it as more of an art museum that happens to have guest rooms)…"

« Approcher l’image de Leïla Macaire, c’est faire face à une toile où sont projetées ses intentions » (Marin, Arty Paris, décembre 2018).

“It’s the best way to enjoy life – the perfect place for a bit of dolce farniente living.” 

“Practicalities such as an internal staircase, a lift and facilities for reduced mobility marry the owners' love of Malta and passion for art, so that every part of the house captivates the imagination and curiosity about Malta”

"Abandoned and unloved, the beautiful stone town houses of the Three Cities are being saved and renovated by a new wave of creative people turning them into boutique hotels. … Some, like Snop House in Senglea, are art galleries as well."

We are very proud of our 8/10 rating on The Telegraph.

25 ceramic “monumental art” pieces were to be discovered at the Town Hall by the Louvre (1st district in Paris) from the 19th to the 29th of June, each of them paying tribute to Maltese landscapes from which Paul Haber finds his inspiration.

The Snop House is among the best accommodation places in Malta according to The Telegraph expert rating.

“Thanks to my brother Brian, I established an important connection with Olivier Plique: a Frenchman who possesses a phenomenal love for Malta and Gozo. He quickly acted upon my rather unorthodox ideas and critical stance regarding the restructuring of the Mdina Biennale and on how this should somehow develop into an important source for my […]