  Although Wollheim has at times wrongly been credited with this move, the earliest explicit reference to the type-token distinction in the literature on the ontology of art is to be found in Rudner (1950). Subsequent philosophers who have discussed applications of type-token distinctions in the philosophy of art include Charles Stevenson (1957, 1958), Meager (1958–59) Margolis (1958, 1959, 1961), W. D. L. Scobie (1960), Wacker (1960), Khatchadourian (1960), Ruth Saw (1961), Donald F. Henze (1957, 1961), Jay E. Bacharach (1971), Nigel Harrison (1975), R. A. Sharpe (1979, 1995, 2001), Rossberg (2012), and Davies (2012).