Assuming you mean schematics and other documentation rather than actual microphones, yes. At this point in the company's history (1952) Schoeps published no product literature of their own, but funneled the information through Telefunken Ela, their main international distributor. So the only external literature is from them.
Do you actually have such a microphone? One thing to watch out for with this particular model: It came with a special output cable (between microphone and power supply) that had the microphone's output transformer and a few other passive components built into an in-line "pod". This was done for the sake of miniaturization. The M 200 was intended, among other applications, for use on a boom, and the idea was to keep its size and weight down to a minimum.
Thus the amplifier body contained only the EF 94 (6 AU 6) tube and its grid circuit components, with pretty much everything else banished to that outboard "pod" in the cable. Most of the time when I've seen M 200 or M 201 microphones up for sale on eBay or elsewhere, that special cable hasn't been part of the auction, and the microphone is incomplete without it. So if you're looking to get the microphone that matches the power supply, be warned. Also, the capsule head ("Ela M 921") of any M 201 should be carefully checked out prior to purchase--I get the impression that they may have needed more than their share of service back in the day.
[edited later to add:] The M 200 and M 201 used the same amplifier body, output transformer cable, and power supply. The difference was that the M 200 came with a simple, small, single-pattern omnidirectional capsule (Ela M 920) while the M 201 used a larger, tennis-racquet-shaped capsule head containing a figure-8 capsule and an omni capsule with a flat circular surround. When both capsules were enabled, the result was a cardioid pickup pattern that was smoother and more consistent than any other cardioid condenser microphone then on the market. A mechanical switch in the "neck" of the capsule head disconnected the figure-8 capsule, leaving a single-diaphragm, diffuse-field-equalized omni pressure transducer with the surround, making its characteristics very suitable for distant or semi-distant pickup of music in reverberant spaces. It was the favorite microphone for the Mercury "Living Presence" stereo LPs once they were able to acquire six of them (three each for their main and backup tapes).
