Ram-Sabree

"Ram eating fruit from sabre tree" refers to the episode of Lord Rama eating berries offered by Shabari, a devoted ascetic, during his exile. The fruit mentioned in this context is typically identified as 'ber' (Indian jujube). This oleograpah produced by Ravi Uday Press Based in Ghatcopper dated back to circa 1910-20

According to the legend:

• Shabari, an elderly woman and a disciple of Sage Matanga, waited for many years for Lord Rama's arrival. 
• To ensure Rama would only receive sweet berries, she would taste each one before offering it to him. 
• Lord Rama, touched by her devotion, accepted and ate the tasted berries, signifying the importance of pure devotion over societal norms. 

According to the scriptural account, even though hundreds of other yogis were waiting to receive Rama in their ashrams, Rama went only to Shabari's ashram because of her sincere devotion. On seeing Rama, Shabari became ecstatic and said, "There were so many exalted yogis waiting for your darshan, but you came to this unworthy devotee (...) This clearly shows that you will neither see whether a devotee lives in a palace or humble hut, whether he is erudite or ignorant (...) neither see caste nor color. You will only see the true bhakti .  I do not have anything to offer other than my heart, but here are some berries. May it please you, my Lord." Shabari offered the fruits which she had meticulously collected. As Rama tasted them, Lakshmana raised the concern that Shabari had already tasted them and they were, therefore, unworthy of eating. To this, Rama responded that, of the many types of food he had tasted, "nothing could equal these berries, offered with such devotion. You taste them, then alone will you know. Whomsoever offers a fruit, leaf, flower or some water with love, I partake in it with great joy." Traditional writers use this narrative to indicate that in bhakti, faults are not seen by the deities.

Pleased with Shabari's devotion, Rama blesses her with his vision. Rama notices the donas, or bowls, of handmade leaves in which she had offered the fruits and is impressed by the hard work Shabari has gone through to make them and, hence, blesses the tree so that the leaves naturally grow in the shape of a bowl.Shabari also tells Rama to take help from Sugriva and where to find him. The Ramayana says that Shabari was a very bright and knowledgeable saint

Bhishma-Sheer-Pinjari

Bhishma's death scene in the Mahabharata depicts him lying on a bed of arrows after being defeated by Arjuna, who used Shikhandi as a shield. Though severely wounded, Bhishma chose to wait for the auspicious time of Uttarayana (when the sun moves north) to leave his body. He lay on the arrows, enduring the pain, until the sun shifted north, and then, with Krishna's blessing, he peacefully surrendered his life. This oleograph produced around 1920 from Ravi Varma Press Karla Lonvala.

Here's a more detailed account:

• The Battle:

  Bhishma, a great warrior and grandfather to both the Kauravas and Pandavas, was defeated by Arjuna on the tenth day of the Kurukshetra war. 

• The Bed of Arrows:

  Arjuna, guided by Shikhandi, showered Bhishma with arrows, causing him to fall to the ground, but the arrows pierced his body and held him suspended above the earth. 

• Waiting for Uttarayana:

  Bhishma, having the power to choose the time of his death, decided to wait for Uttarayana, considered an auspicious time for liberation. 

• Seeking Krishna's Grace:

  Bhishma, in pain, sought Krishna's darshan (vision) and requested him to relieve him of his suffering before his final moments. 

• Krishna's Blessing:

  Krishna, moved by Bhishma's devotion, granted him a vision of his Vishwarupa (cosmic form) and also relieved him of his physical pain, enabling him to speak to Yudhishthira. 

• Final Moments:

  Bhishma, after imparting wisdom to Yudhishthira, fixed his mind on Krishna and peacefully surrendered his life, merging with the divine

Tara-Devi

• Tara Devi :

  The painting depicts Tara Devi, who is described as a tantric deity popular in India, China, Tibet, and Mongolia, with the word 'Tara' meaning "one who ferries across the ocean of suffering". Some interpretations also link the figure to Saraswati, the Hindu goddess of knowledge, music, art, wisdom, and learning, often depicted playing the veena. 

• Details:

  The painting shows a woman, identified as Tara Devi or Saraswati, playing a string instrument (veena) in a boat, with another woman listening. 

• Medium:

  This is an oleograph print from the 1890s, produced by the Ravi Varma Lithographic Press based at ghatcopper, Bombay

Saraswati

SARASWATI: Saraswati is the goddess of learning and the 43rd chapter of the Brahma Purana describes her birth from the sublime or sattvic face of Bramha. Saraswati thereafter asked Bramha who she was and what were to be her duties. Brahma declared that she would be called Saraswati and was given three duties. Firstly, she was to reside at the tip of the tongue and was directed to dance on the tongue of learned people. She was also directed to reside on earth as a river and in the third form reside with Brahma.

This oleograph  from the Ravi Varma Prem Karla Lonavalla derived from a painting by Raja Ravi Varma follows the iconographic description of Saraswati as found in the 50th chapter of the Agni Purana. She is described in the Agni Purana as being attired in white and playing the Veena with two arms and holding an aksha-mala (a string of pearls) and a pustaka (book) in the other hands.

Early religious texts do not mention a vehicle or vahan for Saraswati. However, later texts provide for a swan or peacock. There are three prints of Saraswati by the Ravi Varma Press derived from paintings by Raja Ravi Varma. This is the most common and popular image of Saraswati.

This work is approx  Circa 1903-05 from Ravi Varma Pres Karla Lonavalla , Bombay