I would add Howard Hawks--very neutral visual style (camera at eye level, no flashy editing, etc.) but Hawks had an ethos that's recognizable (the main evidence comes from his statement--quoted from senior memory--that his scenes with danger should involve humor and his humorous scenes should pose grave danger to the protagonist).

Anyone who classifies auteurship without including the role of the writer is likely to miss the point. The writer may be the director (the work of a hyphenate director is often different from the work of a director who uses a separate writer). But directors often collaborate with writers, and not infrequently change the shape of a movie without sharing writing credit--e.g. Hitchcock). If you're looking at the films directed by Billy Wilder as a consistent whole (and they are with rare exceptions), it's useful to look at the scripts he wrote or co-wrote for other directors.

Nice to see Terence Fisher mentioned--he deserves more credit. Bob Clark is another excellent director who is difficult to pin down via the auteur theory because his oeuvre is so diverse.

Incidentally, Sarris initially disliked Billy Wilder ("Less than meets the eye") but later rescinded that judgment.