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The fond is divided into three main sections. The first one refers to the “North American trunk” and the second to the commercial work in Argentina. The first section contains Olds' correspondence with his parents and friends between 1876 and 1904, family photographs and photographs of his early work in the United States, glass plates, ferrotypes and albumen prints. Also notebooks, a personal diary, hundreds of positive photographs on paper with records of his initial 1889 trip between New York and Valparaiso.
With respect to his commercial work in Argentina, two major groups can be distinguished in his professional work: on the one hand, commercial and institutional photography on commission, and on the other, the “general collection”. The latter consists of a series of images that Olds took at will and then offered for sale. These negatives on glass and cellulose nitrate plates Olds organized them in the manner of what we know as an image bank. This was identified in five different ways. In his first period, from about 1899 until late in the first decade of the twentieth century, he pasted a thin strip of translucent paper over the emulsion; from 1915 onwards he seemed to engrave the letters in red, also on the emulsion side, and later he used India ink with a neat freehand typography. These three ways correspond mostly to what are called types and customs, which include views, portraits and scenes. Clearly differentiated is the other part of the commissioned archive, which is a record of the Argentine countryside at the beginning of the 20th century. Here Olds labeled the negatives, using in some cases numbering done with a sharpie and in others, red ink. Some of these plates have up to three different numbers at the base of the image.
The third section gathers documentation on Harry Grant Olds gathered by the various owners of the archive and researchers who consulted it. It is worth mentioning a collection of postcards gathered by John Waldsmith and Alfredo Srur with photos of Olds.

Este fondo se compone de 4867 fotografías estereoscópicas en vidrio y una veintena de copias positivas monoscópicas en papel a la gelatina de plata en diversos formatos.

Los documentos fueron producidos por Bernardo Croce entre los años 1910 y 1937, constituyen el registro de sus viajes por Argentina y el extranjero, en un arco geográfico que pasa por Uruguay, Chile, Brasil, China, Francia, Italia, Alemania, la Península Escandinava, Dinamarca, Hungría o Checoslovaquia, además de un amplio abanico de colonias europeas en África y el Sudeste asiático.

La diversidad de temas que abarca esta documentación es correlativa a la geográfica, encontramos retratos del autor y sus acompañantes en situaciones diversas, paisajes, arquitecturas emblemáticas por su importancia histórica o su carácter innovador, salas de museos y monumentos en espacios públicos y construcciones de infraestructura portuaria, caminera o ferroviaria que dan cuenta de la transformación del paisaje por la modernidad. Croce retrató rituales, fisonomías y escenas cotidianas de tribus de Asia y Europa, así como también registró temas de actualidad, como la visita del príncipe de Gales a Buenos Aires y las multitudes de la Italia fascista.