Cathy — Your first example (001), the clear vase that looks yellow to me, is definitely Stevens & Williams Moresque
. The underlying moulded pattern of interlocking ogee-shaped arching is shown in the drawing accompanying S&W's registered design No. 137288 of November 4, 1889 (see Gulliver p.266). Colour, or the lack of it, is irrelevant. Don't worry about the lack of a registration lozenge. As a US export piece, a lozenge would have been meaningless, and, worse, it would have indicated to US glassworks that the pattern could have been freely copied for the US market without fear of legal action.
Your fourth item, the threaded plate, is a mystery to me.
003 and 002 are very similar in both colourway and underlying pattern to a tazza that I had through my hands recently, which I had attributed to Frederick Stuart, apparently privately developed by him while in the Stuart & Mills partnership, and launched by him on the dissolution of this partnership and his acquisition of the lease of the Red House glassworks from Philip Pargeter in 1881. The launch of a tazza in this style on its own would not have made marketing sense, so it is reasonable to assume a variety of shapes. Gulliver (2002) p.199 bottom left shows such a tazza, here not attributed. But that was ten years ago, and it was Mervyn Gulliver who pointed out to me that the tazza he had not attributed in his book was actually Stuart pattern No. 3890, with a pattern book date of around 1882. He has also found other shapes, for example pattern 4009 was a shallow bowl with a gently crimped rim and three scroll feet. His example of 4009 had 14 crimps around the rim, just like your 002. These two are, without any doubt whatsoever, Frederick Stuart, Red House Glassworks (Stuart & Sons from 1885).