I agree that the "Carousel" weight appears to have Caithness canes - although canes of that style (also used in the Edinburgh Crystal millefiori weights) are known in some of John Deacons' work (John had a contract with Caithness at one time to make the canes). And I think Perthshire Paperweights also used canes of a very similar structure. However, the overall apperance of the weight is not one I know from other than the Ysart men - and similar style from Bohemia / Czechoslvakia.
With a yellow-brown tint to the glass, it doesn't seem to be right for the Caithness Glass lead crystal. But the UV reaction of yellow-green / strong bright blue does tie up properly for that period of Paul's work at the Wick factory. If this is by Paul Ysart, then maybe it was made when the batch was not at its best? Or perhaps it was made at the Perth factory with a lead batch that was not up to the standard of that at Wick? (Did Paul occasionally go to the Perth factory?)
However, the ground of the weight seems unusal for a Paul Ysart piece as all the "fountain / carousel" types I have seen (not that many, though) have had a thin white ground as a base for the coloured chips. But many of the Badge weights assumed to be by Paul Ysart, do not have a thin white ground!
Generally, the quality of the working in that "carousel" weight is what I would expect in a Paul Ysart piece. Similar weights (such as the one Frank linked to) by Salvador, although good, are not as precise in the setting as Paul's - and anyway, the UV results are not right for anything by Salvador.
The base finish is not what I would expect for a Paul Ysart item - except that it is similar to some of the Badge weights (that I think might well be Belgian!). But even if Paul did finish the bases of some Badge weights in that way, why would he revert back to that "1930s" way of doing things after 30+ years of better quality finishing?
I agree with Frank about the second weight. It is odd that it has such a modern look to the crisp central part with its striking blue, white and "whatever-colour-that-is", but has a fairly typical "combed bakset" of late 19th / early 20th century continental work. The UV result ties in well with a "soda batch" of earlier work.