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Iron Man #159 front cover

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~9.0 AI-Estimated
Approximate
Condition Profile
IRON MAN #159
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

SIG 3/10 Available

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// Unit specification

PublisherCover dateEraVariantKey attributeStatus
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

UnitGradeVariantStatus
ECA-002564 ~9.0 Newsstand AVAILABLE

// Run position

Part of an unbroken run · #148–#278 · 131 issues View all 253 available issues of IRON MAN →

// Condition analysis

⚠ AI-Estimated / Approximate Condition Profile

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

⚠ AI-Estimated values — approximate, not an appraisal
BracketGradeEst. market valueMarker
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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