hello Robert.......... As you'll know, cut glass at the higher quality end frequently has a backstamp - but unfortunately, there's a far greater amount that carries nothing to help with id, and the very simiplicity and lack of defining style with these pieces provides almost nothing to help with attribution. I'm reminded of the link you provided a year or so back in which you attached images of pages from a Stuart design book - showing drawings of early C20 cutting patterns - these simple cross cut mitres are everywhere - although a redeeming feature with Stuart is that frequently there is a backstamp.
Bit of an irony really - Stuart produced some of the finest designed cut glass work in the early years of the C20, but the good stuff was no doubt expensive then and prohibitively so now.
Waterford was another name that seemed not to change their designs for perhaps too long, and failed to be aware of a changing market.
At the other extreme it's often not difficult to spot the work of some factories/designers, before picking the piece up - for example the distinctive bright-outlining of leaves which I think was a characteristic feature of Kny's designs for Stuart, and some of the thin-lined naturalistic/organic designs from David Hammond for Webb.
There were some stunning pieces around from S & W/Webb and Walsh but these are now way beyond us mere mortals, and a lot of the post war progressive designs can be 'run down' in books possibly because they had/have a greater appeal and presumably were produced in far less quantity. These can often be found in some of the oridinary books we have - but as always collectors of cut glass are very poorly served when it comes to literature.
Baxter's cut glass designs may have been inspired by Scandinavia, but they seem too suppressed and lack 'punch' - although some of the W/Fs designers prior to Baxter did produce some good deco style cut glass.
I'd agree with your suggestion that your pieces are probably British - mid C20 Czech. and VSL material tends to have a more distinctive style of cutting - could be wrong but I get the impression that Continental cut designs (at the lower end of the C20 market), tend to show more flair than us, perhaps it's our British reserve.
I really can't help with Stourbridge material - certainly I don't think that your green bowl is older than say about the 1940's - wear might help here. The cutting style doesn't look particulary old. How do we describe this bowl.......... cut green-over-colourless - or are we supposed to say green cut-to-clear?
Sorry this is unhelpful (and perhaps boring) - but if nothing else might stir one or two people into picking up a pen - those who may think my words contentious