Egbert van Alstyne, "Why Don't You Try" (1905). This has a wedge figure with the descending element as primary, not the inner-voice ascent in the cadence. The latter is prominent, however. I don't regard these figures, which happen fairly often, as counter-examples but as additional confirmation that musicians were quite aware of the counterpoint of ascents from ^5 and descents from either ^5 or ^3 and they were willing to exploit them as seemed creatively and expressively appropriate, including by flipping the voices.
