Iron tsuba of round form with design of two paper lanterns in openwork (small cut-outs, ko-sukashi ) outlined with brass wire. The plate is decorated with four concentric rows of brass dot inlay (ten-zōgan), with a brass circular wire inside the innermost row of dots (missing on the back). Hitsu-ana of rectangular form is not outlined with brass wire, which let us suppose that it was cut out at a later date. Copper sekigane. Mid Muromachi period (1454-1513). Diameter: 74.0 mm, thickness: 2.6 mm. Tsuba is illustrated at: 新版 日本刀講座 小道具鑑定編 本間 薫山 佐藤 寒山 : Shinhan Nihonto Koza, Volume VI, Kodogu Part 1. Under supervision of Honma Kunzan and Sato Kanzan. 鍔 無名 応仁 鉄地) 丸形 小透 槌目 真鍮据文 点象嵌 丸耳 : Tsuba with no signature, Ōnin style. Base metal iron (jigane), round shape, small perforations (ko-sukashi), hammering finish (tsuchime). Pre-cast brass inlay (shinchu suemon-zōgan); dot inlay (ten-zōgan); round edge (maru-mimi). English translation of the book indicated above Nihon Tō Kōza, Volume VI, Part 1 by Harry Afu Watson, AFU Research Enterprises, Inc., 1993. Tsuba in question illustrated on page 14 and described as follows: " Tsuba mumei Ōnin. Tetsu ji maru gata ko-sukashi tsuchime shitate shinchū suemon ten zogan maru mimi. Brass suemon". My question remains: why such a text is called 'translation' while it looks more like transliteration of romanization?

Iron tsuba of slightly elongated round form decorated with three pairs of snowflake-form small perforations (ko-sukashi), each outlined with brass wire; five concentric circular rows of dots inlaid in brass or copper ten-zōgan (some dots are missing). Hitsu-ana of oval form. Ōnin school. Unsigned. Late Muromachi period. Dimensions: 75.6 mm x74.6 mm x 3.0 mm. Weight: 78.0 g. Old NBTHK certificate (green paper): Tokubetsu Kicho - "Extraordinary Work". Unlike most Ōnin ten-zōgan tsuba this one does not have circular brass wire inlay inside the dots area; neither it has brass trim around seppa-dai or hitsu-ana.  

Iron tsuba of mokkō form decorated with inome (wild boar's eye) in openwork (sukashi) outlined with brass wire. The plate decorated with 3 concentric circular rows of brass dots in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire (sen-zōgan). Some dots and the outline of inome on the face are missing.

Ōnin school. Unsigned. Mid Muromachi period, middle of the 15th century. Dimensions: 72.1 x 71.3 x 2.3 mm.

An iron tsuba of 12-lobed form with alternating four solid and four openwork areas, each with a central bar. Symbolism remains unclear, possibly - a gunbai, i.e. military leader's fan. The solid parts decorated with 5 to 6 rows of brass dots of nail heads inlaid in ten-zōgan. The center of the plate as well as the sukashi elements are outlined with brass wire. The kozuka-hitsu-ana seems original. Muromachi period. Dimensions: 77.9 x 77.5 x 3.2 mm.

Shingen school tsuba with woven wire pattern. Iron core, woven brass wire. Height: 72.5 mm; Width 69.8 mm; Thickness at seppa-dai: 4.0 mm. Weight 88.8 g. Late Muromachi, 16th century. SOLD http://varshavskycollection.com/shingen-tsuba/

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.

Round tsuba of iron; well forged thin plate decorated with a rudder (kaji) and an oar, or paddle (kai) with a water drop, executed in a combination of negative (in-sukashi) and positive (ji-sukashi) openwork. It may be Ko-Tōshō (old Tōshō) or just Tōshō school, without a 'Ko'. The characteristics of the plate point toward an older piece, however the combination of negative and positive silhouettes pulls the date of manufacture in an opposite direction. Muromachi period. Height: 90.0 mm. Width: 89.0 mm. Rim thickness: 2.1 mm. Center thickness: 2.3 mm. Nakago-ana: height = 29 mm, width = 8.8 mm. A rudder and an oar design is classified by John W. Dower as "Sailing vessels and gear": "Unlike many other motifs, sailing vessels and sailing gear failed to collect an interesting lore or to develop levels of meaning." Merrily Baird does not say anything about these symbols. Yuzuri Okada says: "Ships, sails, rudders, etc. also supply motive of the same class as wheels." He does not provide us with the description of the motive supplied by the wheel. The same motif is used on Ōnin tsuba in this collection: