Iron tsuba of round form pierced with design of paulownia (kiri) in a circle in positive silhouette (ji-sukashi), details carved in low relief (sukidashi-bori). Hitsu-ana were cut later and then both plugged with lead or pewter. Brown patina. The most unusual characteristic of this tsuba is its 'positiveness': the absolute majority of Kamakura-bori tsuba are of ko-sukashi type, i.e. with small openings, presenting the motif in negative silhouette. Kamakura-bori school. Muromachi period (ca. 1450). Size: Height: 85.1 mm, width: 84.8 mm, thickness at seppa-dai: 3.2 mm, at rim: 2.8 mm. Weight: 79.1 g. A similar tsuba is presented at Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton. Part I. Christie's, New York, March 31, 1992, page 11, №3: "A Kamakura-bori tsuba. Muromachi period, ca. 1450. The round iron plate is pierced with an openwork design of a paulownia crest (kiri-mon), the surface details of which are carved in low relief. The design is repeated on the reverse. The edge is slightly raised  and the rim has some iron bones. 78 mm x 77 mm x 3.5 mm. Hakogaki by Sato Kanzan, dated summer 1973."

Iron tsuba of six-lobed (mutsu-mokkō-gata) form, with six wild boar's eye shape (inome) openings (sukashi). Hitsu-ana and the entire perimeter of tsuba have typical for this school raised rim. Lobes are decorated with landscape motifs in low relief carving (sukidashi-bori). On the obverse: A hut under a full moon, Shinto shrine gates (torii) with pines and a full moon, rocks, a large pine tree, and a temple (pagoda) surrounded by rocks and waves. On the reverse: waves, fishing boat, wild gees in flight under full moon, maple, hexagon (tortoiseshell, kikko) with a dot inside and a dot outside (inclusion/exclusion symbol), and chrysanthemum (the last two may be family crests, mon). Kamakura-bori school. Late Muromachi period (1514-1573). Height: 64.2 mm, width: 74.3 mm, Thickness at seppa-dai: 3.2 mm, at rim 2.6 mm. Weight: 62.8 g (light). NBTHK old green certificate №561: Tokubetsu Kicho  - "Extraordinary Work". A look-a-like tsuba can be found at the Compton Collection, part II, pp. 14-15, №17, though his tsuba is more massive (80 x 84 x 4 mm). NBTHK paper says that the motif is Hakkei (八景), i.e. "Eight Views," so several interpretations are possible (the original Chinese ones, Omi Hakkei, etc.).  However, most likely it is the 'Eight views of Omi' (近江八景  - 'Omi Hakkei'). Why the artist selected a 6-lobed form for depicting 8 views remains unclear, and thus we are in our right to raise the question whether the motif is indeed Hakkei. The term Omi hakkei (eight views of Omi) refers to painting or print sets which illustrate life on the shores of Lake Biwa in Omi (now Shiga Prefecture). The model for such paintings came from China, where, from the eleventh century onward, painters had produced eight views of the Hsiao and Hsiang lake areas of Hunan Province. The themes, which follow the original Chinese models, are: geese descending to land, returning fishing boats, clearing rain, a snow-covered evening landscape, the autumn moon, night rain, a temple bell at evening, and the glow of sunset. Japanese artists have also used the eight-theme approach for other parts of country - including cities - and applied it to subject matter other than landscapes. [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, page 308-9]. Japan Encyclopedia by Louis Frédéric also mentions Omi Hakkei as "Eight landscapes of Omi", and states that this theme was often cited in poetry after 1500. It is likely that the tsuba in focus is designed under the influence of the theme popularity in the 16th century. The theme was effectively exploited by prominent ukiyo-e artists Suzuki Harunobu and Utagawa Hiroshige in the 18th and 19th century, respectively. These are the eight scenes of the theme (see Wikipedia):

• Returning sails at Yabase (矢橋の帰帆) - Yabase. Yabase is an old harbour on the east side of the lake. Near the Tokaido, it was used for a shortcut to Otsu by boat.
• Evening glow at Seta (勢多（瀬田）の夕照) - The Chinese Bridge at Seta. The long bridge across the Seta was used by the Tokaido. In the background the "Fuji of Omi", the Mikamiyama. It is just above 400 m, but indeed well visible.
• Autumn moon at Ishiyama (石山の秋月) - Ishiyama Temple. The Ishiyamadera was located on a hillside next to the Seta River. It got his name form the strange rocks on which it is built, partly on supporting beams. A hut at the upper end of the site allows a view of the lake, and the moon.
• Clear breeze at Awazu (粟津の晴嵐) - Awazuhara. Awazu is well known for its pine wood, Awazu-ga-hara.
• Evening bell at Miidera (三井晩鐘) - Mii-dera. Miidera temple was built in the 8th century. Its famous bell is one of the "Three bells of Japan", the other two being those at Byoodo-in, Uji and at Jingoji, Kyoto.
• Evening rain at Karasaki (唐崎の夜雨) - Karasaki Shrine. Karasaki is a small cape with a single large pine tree, a hitsu-matsu.
• Wild geese returning home at Katata (堅田の落雁) - Ukimido. Alighting geese cannot be seen always, however the little temple near Katata in the square hōkyō-style, detached from the lakeside, connected by a bridge. The first part of the name uki is the same as in Ukiyo-e, meaning floating. Midō means temple.
• Evening snow at Hira (比良の暮雪) - Hira Mountains. The Hira mountains on the west side of the lake experience the hard winter, when the winter monsoon brings much snow from the continent.

In any case, as a conservative, I say that it is a landscape motif and a late Muromachi period work, rather than Omi hakkei motif and a mid-Muromachi work.

Iron tsuba of round form with design of rabbit (usagi) in openwork (sukashi) and inlaid with designs of plants and family crests (mon) in suemon-zōgan. A branch with lonely leaf, half chrysanthemum, and flying wild geese on the face represent autumnal connotations. The same motif is complemented by a clove (choji) on the reverse.  The family crests (mon) include: interlocked rings (kanawa; wachigai), three encircled lines or stripes (hikiryo), bit or muzzle (kutsuwa - horse's harness element with possible christian symbolism), and encircled triangle (uroko, fish scale). Brass wire trim around the openwork elements and the seppa-dai, scalloped wire inlay around the hitsu-ana. Iron is dark, almost black. Brass or copper elements vary in shades of lighter and darker yellow with red-ish hue. Ōnin school. Late Muromachi period, 16th century. Height: 89.6 mm; Width: 89.3 mm; Thickness at seppa-dai: 3.0 mm. Weight: 129.7 g.

Kozuka made of pure copper with Daruma motif. The engraving technique is known as katakibori ("half-cut carving"). Signed on the back: Yasuchika. Size: 96.5 (H) x 14.5 mm (W). Edo period (Late 18th century). The technique of Katakiribori was developed by  Yokoya school of artisans. Detailed account of Yasuchika family of kodōgo carvers is given at Japanese Sword Fittings from the Alexander G. Mosle Collection; Sebastian Izzard LLC, 2004 on page 64. The article ends with the following statement: "Given the popularity of his style and his many students, it is not surprising that a number of works bearing Yasuchika's signature are today disputed." S. Izzard attributes Yasuchika masters to Nara school. Yasuchika-signed kozuka in Important Japanese Swords and Sword Furniture and Works of Art [November 5, 1980, sales "Kotetsu". New York, Christie, Manson & Woods International Inc., 1980, pp.92-93, lot 172 and 173] are stylistically very different to our example. A shibuichi katakiribori kozuka, bearing the signature of Yashuchika, is illustrated at The Hartman Collection of Japanese Metalwork [sold at auction by Christie, Manson & Woods Ltd. June 30 and July 1, London, 1976] on page 82, lot 291. It depicts Daikoku and stylistically similar to ours. The description on page 83 says: "signed Yasuchika, and inscribed "drawn by Hanabusa Itcho" (Yasuchika IV, school of Iawamoto konkan, circa 1800)". A detailed account of Yasuchika signatures is presented at Masterpiece tsuba and kodogu from the Hans Conried and Alexander G. Mosle collections. Important woodblock prints by Utamaro, Hokusai, Hiroshige, Yoshida and other masters. San Francisco, September 1-25, 1983. Catalog #7. Robert E. Haynes, Ltd., pp. 141-174. The example that looks like ours is on page 146: Though we have to admit that the example from Catalog #7 by Robert E. Haynes looks much stronger.    

Iron tsuba of 8-lobed form pierced with six openings (sukashi) and decorated with design of bamboo and arabesque in flat brass inlay (hira-zōgan). Two of the openings serve as hitsu-ana. The design on the face represents bamboo trunks and leaves, clouds, waves, and vines; on the back - vines and leaves, that forms an arabesque (karakusa) motif. Rounded square rim. 'Silver' patina. Hitsu-ana with copper sekigane. Heianjō (most probable) or Kaga-Yoshirō school. Late Muromachi or Momoyama period; 16th century. Size: Height: 74.6 mm; Width: 69.5 mm; Thickness at seppa-dai: 4.2 mm. Weight: 113.9 g. Provenance: Gary D. Murtha. This tsuba is illustrated at: Japanese sword guards. Onin - Heianjo - Yoshiro by Gary D. Murtha [GDM Publications, 2016, p. 48]: "Iron, 80x75x3 mm tsuba with brass karakusa vines and leaves on one side with bamboo, leaves, and clouds on the reverse. This tsuba is one of those pieces that might be classified as Onin or Heianjo work, but the flush inlay tips it to the Heianjo side. Late Muromachi period." I would like to add that it easily may also be classified as Kaga-Yoshirō. Robert Haynes in Study Collection.., page 32, illustrates a look-a-like example, and writes: "This style of inlay, where the designs on the face and the back are very different, was common to the work of artists in Kyoto in the Momoyama period."

Mokkō form iron tsuba carved in relief and inlaid with soft metals (copper, gold, silver) with the design of a cormorant fisherman on the face and a boat on the reverse. Unsigned. Dimensions: 77 mm x 69 mm x 3.0 mm (at seppa-dai) Edo period: 18th or 19th century. "Since Nara period, Japanese fishermen in small boats have used cormorants (u) to catch river fish at night, binding the necks of the birds so that the fish are not swallowed. [...] The bird and the work it performs are symbols of selfless devotion to one's master and keen eyesight." - from Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001; p. 104. See also in this collection TSU-0212 and TSU-0241.