The Rosario Gasworks photo album is a quarto volume bound in navy blue cloth boards with dark green sheep corners. The spine bears the gilt title, "Argentina." The album contains approximately 140 gelatin silver prints, including four panoramas (three- and two-part). 23 prints are of Europe (primarily Britain); the remainder are of Argentina. The images are affixed to stiff off-white leaves with light staining, with the exception of one black leaf near the end of the album. The panoramas measure approximately 5.25 x 11.25 in. 30 of the images are approximately 4.5 x 6.5 in. The remainder are approximately 3 x 3.75 in. The album includes a partial table of contents near the end and many of the images include pencil captions in English. Some of the original leaves may be missing (after image 11).

The initial pages of the album include images of Scotland, Germany, and England as well as portraits of individuals, some unidentified and some identified by initials only, who may have been family, friends, or acquaintainces of the album's compiler. The focus of the album, however, is the Rosario gasworks. Three of the panoramas depict the grounds of the gasworks, including buildings, shipping containers, coal, large metal piping, and the facility's proximity to the Paraná River, as well as the manager's house, or "Casa de Altos." Other photos depict the gasworks' coal shed, steam engines and machinery used at the facility, and workers installing pipes and unloading and transporting coal from the port in small trolleys. The album also includes views of river commerce such as the steamer, María Manuela, filled with oranges and men moving dried animal hides. Together, these images highlight industrial activity and trade in late-nineteenth-century Argentina as well as the roles of British technologies and personnel in developing city infrastructure. The album also depicts the streets and sights of the city of Rosario, such as the cathedral, cemetery, train station, and the suburb of Alberdi, and events including the launch of a hot air balloon and a procession. The Lomas family, including R. Lomas and his children also feature prominently in the album, suggesting a friendship between the album compiler and the family. The final pages contain photos of unnamed locations and shipboard images including, perhaps, the compiler of the album, labeled, "myself," in one photo.