PANGOLIN’S  intimate space is the ideal setting for this retrospective of work by one of Britain’s most important, if sadly neglected, British sculptors.

Sheffieldian George Fullard’s  work has both a succinct realism, with its stunning fluidity and clarity of form, as in Three Women, and an equally assured grasp of  assemblage, epitomised by Pregnant Women.

Fullard had an optimistic disposition to fellow humans and, a rarity among sculptors, a sense of humour — best exemplified by the comically ponderous and visibly inept Phoenix with wrenches for legs and forks for wings.

A son of a blacklisted communist miner, Fullard was politically active and his views informed some of his work, notably the deliciously satirical assemblage of Death or Glory or the evocative and poignant War Ghost, neither of them exhibited here.

A series of heads rapidly sculpted and devoid of any significant, identifying features alludes to his own predicament of being seriously wounded at the battle of Monte Cassino during WWII, where he faced near obliteration.

His versatility also extends to elegant fine line drawings, gouaches and mixed media.

In 1958, art theoretician John Berger referred to him as Britain’s best young contemporary sculptor and it is easy to see why, for Fullard has a “Midas touch” when sculpting.

There’s a supreme confidence in employing disparate materials, an economy of form and immaculate composition.

His art, prompted by everyday circumstance,  is sublime — and it’s uniquely accessible.

This free exhibition is not to be missed.

Runs until October 26, opening times: pangolinlondon.com.