NICE TRAWL, David - your apothecary jars (counter jars, candy jars) seem to be all correct for 19th Century. Unable to say if they're British - I would (at the drop of a chapeau) think French because the set looks much like the tickwalled glass made by Arques at that time, but I heard rumours that Sunderland produced very similar items. The lids are absolutely original, and quite unique that you have them all.
No idea about the lamp.
The glass looks like a sweetmeat glass.
In old glass you first look @ the specific colour. It is greyish, and does not have the green tinge of modern sodalime which would be used in recent copies (Lambert GlashÃ¼tte in Germany jumps to mind). Impurities (frit from the oven roof) are a giveaway but are not a condition - seeds (from insufficient fining) are almost always present but never dominant.
Then the balance of the piece is better, and the shape is more flowing than any modern glassmaker would do.
Tool marks all over is another good sign; so are folded feet, baluster stems, feet/ stem/ bowl made seperately and assembled. Ground rims should not occur at all - rims and edges are always tool finished, unless on sunken lids. And as the glass is utilitarian, lids fit and pontil marks are finished or kicked up. Tons of soft scratch on the bottom ring is the finishing touch, of course.
Impurities come in 2 sorts: black specs from the firing in open ovens (pre 1850 I think) and white specs which is material from the oven itself. Small air bubbles are called seeds, these can be circular or stretched out. The fining process is stirring the molten stuff to get the air bubbles out - the longer you stir it the clearer it gets - but there is a point where microbubbles become acceptable for standard production like bottles, barware, counter jars, storage glass etc. For the finer white glass for table use bubbles are not allowed.