Approximate
Condition Profile
MARVEL COMICS · 6/82 · NEWSSTAND
UNIT ECA-002564
IRON MAN #159
Paul Smith's first full-length Marvel art job, featuring Diablo and a Fantastic Four cameo
// Unit specification
| Publisher | Cover date | Era | Variant | Key attribute | Status |
|---|---|---|---|---|---|
| Marvel Comics | June 1982 | Bronze | Newsstand | Paul Smith's first full-length Marvel interior art assignment; not a first appearance or other traditional key event | AVAILABLE |
// Copies in archive
| Unit | Grade | Variant | Status |
|---|---|---|---|
| ECA-002564 | ~9.0 | Newsstand | AVAILABLE |
// Run position
// Condition analysis
Cover shows strong gloss and vibrant color with sharp corners and no visible creases or spine stress lines. There is minor glare from the protective sleeve and a slight fold/crease near the top of the logo area that may be sleeve reflection rather than actual damage. Barcode box confirms newsstand edition; edges appear clean with no chips or tears visible. Interior and back cover were not assessed.
// Valuation — market reference
| Bracket | Grade | Est. market value | Marker |
|---|---|---|---|
| LOW_RAW | 0.5 – 1.5 | $2 | |
| MID_RAW | 4.0 – 6.0 | $6 | |
| HIGH_CERT | 9.8 SLAB | $170 |
// Archive commentary
Iron Man #159 (June 1982) arrived during a transitional period for the title, notable chiefly for showcasing the early work of Paul Smith, who would soon become known for his run on Uncanny X-Men. This issue marks his first full-length interior art assignment for Marvel, pairing him with the villain Diablo and a supporting cameo from the Fantastic Four. The story itself is a minor entry in Tony Stark's Bronze Age adventures, without a first appearance, death, or other landmark event driving collector attention.
Market data for the issue is sparse, reflecting its status as a well-regarded but non-key Bronze Age newsstand book. Certified sales are limited to a handful of transactions at the top of the grading scale, with no population reported at 9.8 or higher, suggesting collectors rarely pursue this title for high-grade investment purposes. Demand is driven primarily by completists of the Iron Man run and admirers of Paul Smith's early art rather than by speculative key-issue buyers.
This book suits Iron Man series collectors filling out a Bronze Age run and Paul Smith art enthusiasts rather than investors chasing appreciation. Raw copies in low and mid grade trade inexpensively and are readily available, while certified high-grade examples command a modest premium tied more to slab scarcity than to any inherent story significance. It is a solid, affordable addition to a run rather than a marquee piece.
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