Royal Canadian Mint Annual Report 2019: Exploring Opportunity
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External Forces, Internal Strength
ROYAL CANADIAN MINT ANNUAL REPORT 2006 External Forces, Internal Strength Metal values skyrocketed. Retail activity drove unparalleled demand for circulation coinage. And all this just as the Mint hit its stride on an ambitious business-growth path. 2006 was a year of adaptation, resilience, agile management— and profit. Table of contents Financial and operating highlights 3 The Mint at a glance 4 Message from the President and CEO 14 Message from the Chairman 15 Corporate Governance 16 Performance against objectives 20 Directors and Officers 22 Management’s discussion and analysis 23 Statistics 41 Consolidated financial statements 47 Notes to consolidated financial statements 53 Head Office and Ottawa Plant Winnipeg Plant Royal Canadian Mint Royal Canadian Mint 320 Sussex Drive 520 Lagimodière Blvd. Ottawa, Ontario Winnipeg, Manitoba Canada K1A 0G8 Canada R2J 3E7 613-993-3500 204-983-6400 www.mint.ca Printed in Canada Financial and operating highlights 2006 2005 % change Key financial highlights (in millions of dollars) Revenue 493.9 435.9 13.3 Net income before income tax 16.0 13.2 21.2 Net income 11.2 8.7 28.7 Total assets 209.7 195.9 7.0 Capital expenditures 19.9 34.3 (42.0) Cash flow from operating activities 36.7 (10.6) 446.2 Key operating highlights Circulation coins produced (in millions of pieces) 2,237.1 1,519.5 47.2 Gold bullion sales (in thousands of ounces) 296.1 329.3 (10.1) Number of employees (at December 31) 773 732 5.6 Gross profit 101.7 93.2 9.1 Value-added sales revenue per employee (in thousands of dollars) 184.0 -
To the Top of Parks Canada
To the top of Parks Canada As Parks Canada’s centennial celebrations were getting underway, the agency’s chief executive officer, Alan Latourelle (pictured in Torngat Mountains National Park in Labrador), sat down for a conversation with the editors of Canadian Geographic. The complete interview appears here: CG Give us a sense of what the centennial of Parks Canada means for the agency. A.L. For Parks Canada, and for Canada, it is really celebrating the first national park organization in the world. This is a country that had the foresight and leadership to be the first to build an exceptional system of natural and heritage places. J. B. Harkin [first commissioner of the Dominion Parks Branch in 1911] and others before us set the way for a system plan that is representative of our country. So, for me, it is a celebration of who we are as Canadians and of the foresight and leadership of past heads of Parks Canada and past prime ministers. CG How do you go about celebrating that? Tell us about some of the events planned for 2011 that will bring that to life? A.L. It started this weekend with Winterlude here in Ottawa, where the opening ceremony included a project called the National Parks Project. Fifty musicians and filmmakers from Canada went through our national parks last summer and each produced a one‐hour documentary. Some of the best were being showcased at Winterlude. We want to connect Canadians to their stories, to our national parks, to our national historic sites, and invite them to celebrate with us. -
ENG-WEB-JAN15.Pdf
COINS FROM THE ROYAL CANADIAN MINT 2015 | NUMBER 1 CELEBRATE CANADA’S PROUDLY NATIONAL FLAG WITH WAVING FOR STUNNING KEEPSAKES— 50 YEARS. SEE INSIDE! AT BOUTIQUES STARTING JANUARY 13 AND MINT.CA JANUARY 6 CANADA’S FLAG AT 50. Flags have been flying high for thousands of years, and 2015 marks the 50th year when Canada’s National Flag came on the scene. After the First and Second World Wars, there was a growing sense across Canada that the nation needed a new flag to reflect its emerging sense of national identity. Canada’s approaching centennial in 1967 added to the momentum, and by the start of the decade, a 15-member parliamentary committee was busy reviewing submissions. Designs fell into three general categories: versions of the Red Ensign, flags with multiple maple leaves, and designs that focused on a single leaf. Three factors influenced the final decision to select the single-leaf design. 1: Red and white had been proclaimed Canada’s national colours by King George V in 1921. 2: The Royal Military College in Kingston (Ontario) had a flag with a single emblem that had proven to be visually striking and effective. 3: Over the years, notable Canadians had often recommended that a red maple leaf on a white field should be adopted as Canada’s national emblem since the maple leaf had witnessed much of the nation’s history, even identifying Canadian soldiers at war and Canadian athletes at Olympic sporting events. After centuries as a voice for Canada’s growing sense of national identity, the maple leaf was given an official place of honour on Canada’s National Flag. -
COIN NEWS CANADIAN Numismatic
ebrati el ng C CANADIAN 50 COIN NEWS YEARS Volume 51 • Number 06 July 2 - 15, 2013 $3.50 Louisbourg settlement’s 300 years marked by coins By Bret Evans From left to right: Royal he Royal Canadian Mint has Canadian Mint Board of issued two new coins mark- Directors member Kirk ingT the 300th anniversary of the MacRae and Parks Canada founding of the settlement of Field Unit Superintendant Louisbourg, on Cape Breton Is- (Cape Breton) Chip Bird land. unveil new gold and silver Founded in 1713 by 150 colo- collector coins honouring nists from France, the settlement the 300th anniversary of the quickly grew into a fortress with founding of Louisbourg at one of the largest military garri- the Fortress of Louisbourg sons in North America. Con- National Historic Site in struction of the fortification was Cape Breton, Nova Scotia. mostly done between 1730 and 1740. Eventually the population The reverse design shows the reached nearly 5,000 people. Frederick Gate, and images of The settlement’s strategic lo- cod and a ship. It was designed cation made it desirable to both by Peter Gough. the British and the French. The weeks. Maj. Gen. Jeffrey Amherst restoration of parts of the origi- tering containing the words The small coin weighs 1/25 of a British captured it in 1758, but it had determined that its capture nal town and fortress took place. “Louisbourg 300” and a repeat- troy ounce, with a diameter of was returned to France in return was essential before any effort One of the commemorative ing pattern of an anchor, fleur- 13.93 mm. -
Where People
WherePeople and History Come to Life ANNUAL REPORT OF THE CANADIAN MUSEUM OF CIVILIZATION CORPORATION 03>04 CANADIAN MU SEUM OF C IVILIZATI ON > C ANADIAN WAR MUSEUM 03>04 ANNUAL REPORT OF THE CANADIAN MUSEUM OF CIVILIZATION CORPORATION CANADIAN MUSEUM OF CIVILIZATION > CANADIAN WAR MUSEUM Canadian Museum of Civilization 100 Laurier Street P.O. Box 3100, Station B Gatineau, Quebec J8X 4H2 www.civilization.ca Information: (819) 776-7000/1-800-555-5621 Teletype (TTY): (819) 776-7003 Group Reservations: (819) 776-7014 Facility Rentals: (819) 776-7018 Members of the Museum: (819) 776-7100 Volunteers: (819) 776-7011 Financial Support for the CMC Development: (819) 776-7016 Cyberboutique: www.civilization.ca Canadian War Museum 330 Sussex Drive Ottawa, Ontario K1A 0M8 www.warmuseum.ca Vimy House 221 Champagne Avenue North Ottawa, Ontario K1R 7R7 Information and Other Services: (819) 776-8600/1-800-555-5621 Fax: (819) 776-8623 Friends of the Canadian War Museum: (819) 776-8618 Passing the Torch Campaign: (819) 776-8636 or 1-800-256-6031 www.passingthetorch.ca Museum of New France Creator of the Virtual Museum of New FranceTM www.vmnf.civilization.ca Published by Corporate Communications Public Relations and Publishing Division, Canadian Museum of Civilization Corporation A printed version of this annual report is available upon request: (819) 776-8380 Table of Contents > 2> Message from the Chair Sharing Knowledge and Expertise> 4> President and CEO’s Report 30> Travelling exhibitions 30> Publications The Canadian Museum of Civilization Corporation> -
Royal Canadian Mint Corporate Plan 2021–2025
EXECUTIVE SUMMARY AGILE, RESILIENT AND FUTURE-READY SUMMARY OF THE CORPORATE PLAN 2021-2025 AND 2021 CAPITAL BUDGET EXECUTIVE SUMMARY CONTENTS 1 Executive summary 4 Overview 9 Operating environment 19 Strategy and corporate objectives 25 Risk overview 27 Financial overview 28 Appendix 1: Corporate governance structure 32 Appendix 2: Summary of financial statements and budgets 38 Appendix 3: Borrowing plan 39 Appendix 4: Compliance with legislative and policy requirements 41 Appendix 5: Government priorities and direction 42 Appendix 6: Collective agreements 43 Appendix 7: Response to and impact of COVID-19 44 Acronyms and abbreviations DISCLAIMER – FORWARD LOOKING To the extent the Mint provides future-oriented STATEMENTS financial information or a financial outlook, such as This Summary of the Corporate Plan contains forward- future growth and financial performance, the Mint is looking statements that reflect management’s providing this information for the purpose of describing expectations regarding the Mint’s objectives, plans, its expectations. Therefore, readers are cautioned strategies, future growth, results of operations, that this information may not be appropriate for any performance and business prospects and opportunities. other purpose. Furthermore, future-oriented financial Forward-looking statements are typically identified information and financial outlooks, as with forward- by words or phrases such as “plans”, “anticipates”, looking information generally, are based on the “expects”, “believes”, “estimates”, “intends”, and other assumptions and subject to the risks. similar expressions. Readers are urged to consider these factors carefully These forward-looking statements are not facts, but when evaluating these forward-looking statements. only estimates regarding expected growth, results In light of these assumptions and risks, the events of operations, performance, business prospects and predicted in these forward-looking statements may not opportunities (assumptions). -
The Myths That Make Us: an Examination of Canadian National Identity
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-29-2019 1:00 PM The Myths That Make Us: An Examination of Canadian National Identity Shannon Lodoen The University of Western Ontario Supervisor Plug, Jan The University of Western Ontario Joint Supervisor Gardiner, Michael The University of Western Ontario Graduate Program in Theory and Criticism A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Shannon Lodoen 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Canadian History Commons, Critical and Cultural Studies Commons, Rhetoric Commons, Social Influence and oliticalP Communication Commons, and the Social Psychology and Interaction Commons Recommended Citation Lodoen, Shannon, "The Myths That Make Us: An Examination of Canadian National Identity" (2019). Electronic Thesis and Dissertation Repository. 6408. https://ir.lib.uwo.ca/etd/6408 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This thesis uses Barthes’ Mythologies as a framework to examine the ways in which the Canadian nation has been mythologized, exploring how this mythologization affects our sense of national identity. Because, as Barthes says, the ultimate goal of myth is to transform history into nature, it is necessary to delve into Canada’s past in order to understand when, why, and how it has become the nation it is today. This will involve tracing some key aspects of Canadian history, society, and pop culture from Canada’s earliest days to current times to uncover the “true origins” of the naturalized, taken-for-granted elements of our identity. -
Seeing and Not Seeing: Landscape Art As a Historical Source
ch08.qxd 2/5/08 1:41 PM Page 140 Seeing and Not Seeing: Landscape Art as a Historical Source COLIN M. COATES Colin Coates is the Canada Research Chair in Cultural Landscapes at Glendon College, York University. During the years that I taught Canadian Studies courses at the University of Edinburgh, I some- times asked my British students to complete the phrase, “As Canadian as ...”The answers they gave were usually fairly predictable: “maple syrup,” “snow,” “a Mountie.” If I had to answer the question myself, I would probably finish the sentence with “landscape.” After all, as the second- largest country in the world, Canada has a lot of landscape. More importantly, the image Canadians project to themselves and others is often of rural or “wilderness” landscapes, even if they rarely visit them, and the human population of the country is crowded into the cities and towns that hug the American border. But the images of Canada iconic to Canadians and tourists alike are usually (apparently) pristine forests, lakes, mountains, and icebergs, not the cities, high-rises, and highways that more accurately define the day-to-day life of the vast majority of Canadians today. Canadians are not unique in finding the essence of their country outside their urban settings. Many countries locate their self-image in the countryside or the wilderness: Scotland, for instance, markets its majestic lochs and craggy islands, even if most Scots live in the tamer cities and suburbs near the English border. In the Canadian case, landscapes are often refracted through particular aesthetic approaches. -
Breaking Tradition
ANNUAL REPORT 2012 BREAKING TRADITION As our business evolves, so must our brand—to ensure our corporate identity is an authentic expression of our character, offer and value. We renewed our brand to convey the dynamism of the Mint, our commitment to our stakeholders, and the spirit of engagement that drives our interactions with customers. As part of the exercise, we adopted a fresh, modernized logo. This new mark retains the maple leaf as a Canadian icon and coins as a symbol of our core business. It affirms our two core pillars of pride and trust and emphasizes in a new way our third: innovation. 2 | ROYAL CANADIAN MINT ANNUAL REPORT 2012 5 Financial and Operating Highlights 32 Performance Against Objectives 8 At a Glance: Breaking Tradition 34 Management Discussion and Analysis 18 Message from the President and CEO 55 Management Report 19 Message from the Chair 56 Audit Committee Report 20 Corporate Social Responsibility 57 Independent Auditor’s Report 22 Corporate Governance 58 Financial Statements 29 Directors and Officers 62 Notes to the Consolidated Financial Statements 30 Business Lines 100 Statistics HEAD OFFICE AND WINNIPEG PLANT BOUTIQUE LOCATIONS OTTAWA PLANT Royal Canadian Mint Royal Canadian Mint Ottawa Visit our online store 320 Sussex Drive 520 Lagimodière Boulevard 320 Sussex Drive for a full selection of products Ottawa, Ontario Winnipeg, Manitoba Ottawa, Ontario at www.mint.ca Canada K1A 0G8 Canada R2J 3E7 Canada K1A 0G8 613-993-3500 204-983-6400 613-933-8990 Vancouver 752 Granville Street Vancouver, British Columbia -
Historical Portraits Book
HH Beechwood is proud to be The National Cemetery of Canada and a National Historic Site Life Celebrations ♦ Memorial Services ♦ Funerals ♦ Catered Receptions ♦ Cremations ♦ Urn & Casket Burials ♦ Monuments Beechwood operates on a not-for-profit basis and is not publicly funded. It is unique within the Ottawa community. In choosing Beechwood, many people take comfort in knowing that all funds are used for the maintenance, en- hancement and preservation of this National Historic Site. www.beechwoodottawa.ca 2017- v6 Published by Beechwood, Funeral, Cemetery & Cremation Services Ottawa, ON For all information requests please contact Beechwood, Funeral, Cemetery and Cremation Services 280 Beechwood Avenue, Ottawa ON K1L8A6 24 HOUR ASSISTANCE 613-741-9530 • Toll Free 866-990-9530 • FAX 613-741-8584 [email protected] The contents of this book may be used with the written permission of Beechwood, Funeral, Cemetery & Cremation Services www.beechwoodottawa.ca Owned by The Beechwood Cemetery Foundation and operated by The Beechwood Cemetery Company eechwood, established in 1873, is recognized as one of the most beautiful and historic cemeteries in Canada. It is the final resting place for over 75,000 Canadians from all walks of life, including im- portant politicians such as Governor General Ramon Hnatyshyn and Prime Minister Sir Robert Bor- den, Canadian Forces Veterans, War Dead, RCMP members and everyday Canadian heroes: our families and our loved ones. In late 1980s, Beechwood began producing a small booklet containing brief profiles for several dozen of the more significant and well-known individuals buried here. Since then, the cemetery has grown in national significance and importance, first by becoming the home of the National Military Cemetery of the Canadian Forces in 2001, being recognized as a National Historic Site in 2002 and finally by becoming the home of the RCMP National Memorial Cemetery in 2004. -
The Art of Money Colville’S Centennial Coins
ART CANADA INSTITUTE INSTITUT DE L’ART CANADIEN APRIL 30, 2021 THE ART OF MONEY COLVILLE’S CENTENNIAL COINS Fifty-four years ago Expo 67 opened in Montreal—and the coins created by revered Canadian painter Alex Colville were a part of the world fair festivities. On the anniversary of the event ACI is launching a new online exhibition about the famed currency that marked the country’s 100-year celebration of Confederation. In 2017, the Art Canada Institute published Alex Colville: Life & Work by Ray Cronin, a work about our country’s foremost realist painter and how he imbued his meticulously painted scenes of everyday life with profound questions about the human condition. Our new online exhibition takes a closer look at a highly celebrated project by the Toronto-born, Maritime-based artist, one that produced the most widely- circulated artistic objects in Canadian history: six centennial coins that Colville (1920–2013) designed in 1965 and 1966 for the Royal Canadian Mint in celebration of Canada’s one hundredth anniversary of Confederation. Marking the anniversary of the opening of Expo 67 on April 27, 1967, The Measure of Nature: Alex Colville’s Centennial Coins, presented in partnership with the Beaverbrook Art Gallery and Billie Magazine, reveals the artist’s process of developing indelible currency inspired by Canadian wildlife. Sara Angel Founder and Executive Director, Art Canada Institute A NATIONAL TALENT Alex Colville, Family and Rainstorm, 1955 In 1964, when Minister of Finance Walter L. Gordon invited Canadian artists, sculptors, and designers to submit proposals for a coin set to be issued in 1967 to commemorate the Canadian Centennial, Colville’s career was thriving. -
Banknotes and the Nation
Andrew Champagne At the Intersection of Place Branding and Political Branding: Canadian Banknote Iconography and Political Priorities Abstract In 2012, the Bank of Canada began to release a new series of banknotes into circulation. Made of polymer and expected to last 2.5 times longer than previous versions, according to the Bank, these banknotes represent leading-edge technology and will expand the frontiers of banknote security. At the same time, compared to the previous “Canadian Journey” series, the overall iconography of the “Frontier” series has been noticeably changed. Over the course of their lifespan, more international visitors will be informed and influenced by Canadian banknote iconography than will Canadians. Throughout this article, I argue that the iconography of the “Frontier” series of banknotes is as much an expression of state power over a defined territory and its people, as it is a means to promote a particular view of Canada - both at home and abroad – that corresponds with the Conservative government of Stephen Harper’s political priorities and values. Considering that the Minister of Finance has authority over the “form and material” of the final design of all banknotes, I argue that Canadian banknote iconography is being used as an explicit means of political branding. In support of this, it is demonstrated that currency is increasingly being used as a means of mass communication more generally and through a quantitative content analysis of all banknotes produced by the central banks of Canada, Australia, New Zealand, and South Africa; I argue that there can be two different categories of banknote iconography, political and non-political.