A comprehensive biographical overview covering his early years in Australia, his time in Paris exhibiting at the Salon d'Automne, and his later career in Hawaii and Seattle.

A University of Washington page on Patterson's role establishing the UW School of Painting and Design, tracing his journey from Paris to Seattle and his impact on Northwest arts.

This Seattle gallery represents Patterson's estate, positioning him as a major figure in Pacific Northwest modernism, with a gallery of available paintings.

The creator profile for Patterson at AGSA, listing works in the permanent collection including his 1904 painting 'Le bar, Saint-Jacques, Paris'.

A database of Patterson's work that has appeared at auction — a visual archive of paintings, woodcuts, and prints, with realized prices and market data.

A 1901–1902 portrait of Patterson painted by his friend and fellow Australian artist Hugh Ramsay, with the story of their Paris friendship and how Patterson later cropped the damaged canvas himself.

A group portrait by George W. Lambert featuring Patterson alongside other expatriate Australian artists in Paris, with context on their shared bohemian circle.

The first authoritative monograph on Patterson, by Jane Alexander — tracing his life from bohemian Paris to the Pacific Northwest, drawn from extensive family and institutional archives.

A finding aid for the Patterson papers at the University of Washington Libraries — correspondence, exhibition catalogs, and writings relating to Ambrose and his wife Viola.

Ramsay and Patterson trained together under Bernard Hall at the National Gallery School in Melbourne before both left for Paris around the turn of the century. In 1901–02 Ramsay painted a full-length portrait of Patterson; the canvas was later damaged, and Patterson himself cropped it down to the fragment held today by the National Portrait Gallery. Ramsay died of tuberculosis in 1906, aged 28, cutting short one of the most promising careers of his generation.

Lambert painted a group self-portrait, held by the National Gallery of Australia, that included Patterson alongside Hugh Ramsay, Amy Lambert, and the writer Arthur Adams — a document of the same Paris bohemian circle Patterson moved in as a young expatriate. Like Patterson, Lambert trained in Melbourne before continuing his studies abroad, and the two crossed paths through the same close-knit group of Australian artists in Paris around the turn of the century.

Bunny was part of the wider generation of Australian expatriate painters — Patterson among them — who left Melbourne for Paris around the turn of the century and built careers exhibiting in the French Salon system. The two moved in overlapping circles of Australian artists living and showing work in Paris during the Belle Époque, before Patterson's own path continued on to Hawaii and Seattle.

Like Patterson, Fox trained in Melbourne before continuing his studies in Paris, and both were part of the wave of Australian expatriate painters who carried French Impressionist and Post-Impressionist technique back into Australian art. Fox's role co-founding the Melbourne School of Art parallels Patterson's own later move into art education, when he went on to establish the University of Washington's School of Painting and Design.

Like Patterson, Rae trained at the National Gallery School in Melbourne before continuing her artistic development in France, joining the Étaples art colony in 1890 — part of the same wave of Australian expatriate painters who left Melbourne for France around the turn of the century and built careers exhibiting and painting abroad.

Like Patterson, Longstaff trained at the National Gallery School in Melbourne before continuing his studies in Paris, part of the same generation of Australian artists who moved between Melbourne and Europe around the turn of the century. Longstaff went on to become Australia's first knighted artist and a five-time Archibald Prize winner, a very different path from Patterson's move into art education in Seattle.

Hall was Patterson's teacher at the National Gallery School in Melbourne, and as the school's longest-serving director he shaped an entire generation of Australian artists who went on to Paris — including Hugh Ramsay, John Longstaff, Iso Rae, and E. Phillips Fox. His strict academic training was the common starting point for the whole expatriate circle Patterson belonged to.