A fine archive of photographs and documents related to the work of notable Third Reich sculptor KURT SCHMID-EHMEN (1901-1968), who designed monumental 'Reichsadler' eagle sculptures for the German Pavilion at the 1937 Paris Exhibition, the Reich Party Rally Grounds in Nuremberg and the 'Fedherrnhalle', and is credited with originating the design. The lot includes four original 3.25 x 4.5 photographs of the Reich Party Grounds, three of which show Schmid-Ehmen at work on the giant stone eagle installed thereat, two bearing Heinrich Hoffman back stamps; a group of seven approx. 6 1/2 x 8 in. photographs featuring images of Schmid-Ehmen's bust sculpture of Gauleiter and Deputy Prime Minister of Bavaria ADOLF WAGNER (1890-1944), showing it at various angles, printed on period-correct Agfa-Brovira paper, all smeared with traces of grey clay, indicating that they were used by Schmid-Ehmen as artist's references during the sculpting of the bust; a group of five b/w photo prints, ranging in size from 4 3/4 x 6 1/2 in. to 7 x 9 1/2 in. showing the resulting bust of Wagner as both the clay original and the final bronze copy, all again printed on period paper; a 12 x 15 1/2 in. print of Schmid-Ehmen's sculpture 'The Spear Carrier', which was later purchased by Adolf Hitler, unfortunately marred by a heavy horizontal crease; two 4 1/2 x 3 1/2 in. snapshots showing Schmid-Ehman viewing two additional sculptures; a 3 1/4 x 4 1/2 in. snapshot showing Adolf Wagner with an unidentified woman; a 3 1/2 x 4 in. snapshot showing two unidentified women, likely Schmid-Ehmen's wife and mother; and a 6 1/2 x 7 1/2 in. b/w/ photo portrait presenting a bust view of Schmid-Ehmen, likely taken immediately postwar. The lot is rounded out by three documents related to Schmid-Ehmen and his family, including a D.S., 1p. oblong 8vo., Munich, May 29, 1945, Hetty Schmid-Ehmen's 'Ausweis' issued by the American captors of the city one month following its fall. WITH: partly-printed D.S., 1p. oblong 12mo., Munich, July 6, 1945, a slip confirming that Kurt Schmid-Ehmen has registered himself with the police; and a war-date insurance card for a woman, on which Hetty Schmid-Ehmen is listed as the holder's employer. Several modern prints of photos showing Schmid-Ehmen and his work are also present. Overall, a fine grouping giving insight into the working process of one of the most notable sculptors of the Third Reich.