The collection of the Royal Academy of Fine Arts contains some 800 sculptures, most of which are plaster replicas that were formerly used for educational purposes. They span from the colossal Nike from Samothrace to small plant ornaments intended as inspiration for interiors and design.

The oldest sculptures were purchased in the 1600th century by Nicodemus Tessin the Younger and forwarded to Sweden in three shiploads between 1695 and 1700. They include Apollo, the Laocoon Group and Dying Gaul. After being in storage crates at the Rännarebanan, they were eventually unpacked to be used as study objects for students at the Academy.

In the 1800s, plaster replicas of other classical sculptures were added to the Academy collection, along with works by Italian Renaissance masters, especially Michelangelo.

Since the 1890s, the Royal Academy building has displayed some 30 of the largest and historically most valuable plaster sculptures. They are always on show and available to visitors. Several sculptures, especially busts, are also exhibited in the library and offices.

In the early 2000s, a large gallery was created in the basement, the Large Sculpture Storehouse, to make even more of the Academy’s collection of sculptures and plaster replicas available. These include replicas of Greco-Roman sculptures and Italian Renaissance works. There are also some original pieces here, mainly by Swedish 1700th to 1900th-century sculptors. The artists include Sergel, L’Archevêque, John Börjeson och Bengt Erland and Bengt Erland Fogelberg.

The collection of Greco-Roman and later plaster replicas is open to the general public and university students.

The collection includes replicas that were used in teaching, but also works by Academy members and students from the 1700th – 1900th centuries. The Large Sculpture Storehouse includes plaster replicas of Greco-Roman and Italian Renaissance sculptures. Like the monumental sculptures in the Nike Hall, these were formerly used as teaching aids at the Academy. Busts, ornaments and reliefs reflect how ideals have changed and expanded in the 1700th and 1800th centuries.