Curator's note

There's only one painted likeness of Rogers, Hogarth's family group of 1729, and it's below from a public domain reproduction. The original hangs at the National Maritime Museum in Greenwich. I've kept the older exhibit as well, a line Rogers wrote himself.

Oil painting of 1729 by William Hogarth. Woodes Rogers is seated with members of his family on a terrace, with the sea and shipping beyond.
William Hogarth, Woodes Rogers and his Family, 1729 The governor in the flesh, the only painted likeness: Hogarth's family group, made in 1729, the year Rogers returned to Nassau for his second term. William Hogarth, 1729. Royal Museums Greenwich, BHC2973. Public domain reproduction via Wikimedia Commons.

The proclamation in the last room is impersonal: the King's words, no man's face. This room gives the pardon a governor. Rogers reached Nassau on 26 July 1718 as the first royal governor of the Bahamas, escorted by the men-of-war HMS Rose and HMS Milford and his own ship Delicia, and he staked the Crown's claim in a fort that was in ruins. We can date the arrival to the day because he wrote it down himself.

"I arriv'd in this port 26th July"

Rogers to the Council of Trade and Plantations, 31 October 1718 (Calendar of State Papers, Colonial, volume 30, item 737). His own testimony fixes the date; tertiary carriers giving 22 or 24 July record the fleet's approach, not his arrival.

The scarcity is the point, and it is worth stating plainly rather than papering over. A governor famous enough to have a museum portrait and a colony motto reaches this Collection as a single sentence of his own, because his own words are firmer than any picture of him. That is the honest shape of the record, and it is the reason to read the line rather than look for a face.

His commission is softer than his arrival. It plainly dates to early 1718, but the exact day is given three different ways across the carriers, and the patent that would settle it, held at The National Archives, is not read here. So the Archive prints "early 1718" and does not commit to a day.

The Woodes Rogers person gallery sets out the whole life, the earlier privateering voyage, the governorship and the disputes that followed. What this room adds is the moment the pardon stopped being a document and became a man in a ruined fort, reading the King's claim aloud to a town of pirates. The next room is the town itself.

Records in this room