Hans Reger

From jdcrp-wikibase
Jump to navigation Jump to search

Hans Reger’s architectural training led him to work for Paul Ludwig Troost (1878-1934), Hitler’s architect. In 1938, Reger joined the staff of the Führerbau in Munich, where he remained until the war was nearly over. There, he managed the art depot, cataloged and registered works of art for the Sonderauftrag Linz. On 2 December 1943, Reger confirmed to Erhard Göpel that he received 262 Schloss paintings at the Führerbau. About two weeks later, Reger asked Hermann Voss for a list of the most “impressive works from the Schloss Collection” to show to Hitler himself, as part of ongoing exhibitions he arranged for Hitler every four to six weeks at the Führerbau. This catalog of works was eventually drawn up by Rudolf Oertel, a fact that Reger communicated to Göpel with the request not to distribute the list. In late spring 1944, Reger handled the Munich end of the 11 large transports leaving for the Alt Aussee depot, after it was decided that the Führerbau was not sufficiently safe from Allied bombing. On 1 February 1945, Reger prepared a detailed inventory of works remaining at the Führerbau, despite one more transport of 137 items leaving for Alt Aussee on 13 April. Hans Reger left his post at the Führerbau on 29 April 1945, ahead of advancing American forces. That same night and for the next several days, local residents of Munich ransacked the building and stole most of its contents, including at least 723 works of art, of which 262 comprised the Linz museum portion of the Schloss Collection. After his capture by the Americans, Reger joined the staff of the Munich Central Collecting Point (MCCP). Literature: Art Looting Investigation Unit, Final Report, p. 65. M1782-OSS Art Looting Investigation Unit Reports, 1945-46, “Consolidated Interrogation Reports (CIR),” RG 239, p. 34. (online at: https://www.fold3.com/image/232002470) Edgar Breitenbach, “Historical Survey of the Activities of the Intelligence Department, MFA & a Section, OMGB, 1946-1949,” College Art Journal, Vol. 9, No. 2 (Winter, 1949-1950), pp. 192-198.