The GCD lists all known reprints of everything. Here's what they have for reprints of the story in ASM #16, from www.comics.org/issue/18615/:

Reprints:
GB in Uncanny Tales (Alan Class, 1963 series) #28 (1965 ?)
US in Spider-Man Collector's Album (Lancer Books, 1966 series) #72-112 (April 1966)
US in Marvel Tales (Marvel, 1966 series) #11 (November 1967)
FR in Marvel (Editions Lug, 1970 series) #11 (10 février 1971) [Moins 2 pages/Minus 2 pages]
GB in Uncanny Tales (Alan Class, 1963 series) #90 ([circa 1972 - 1973])
DE in Die Spinne (BSV - Williams, 1974 series) #18 ([September] 1974)
US in Giant-Size Spider-Man (Marvel, 1974 series) #3 (January 1975) [3 pp. removed]
FR in Une Aventure de l'Araignée (Editions Lug, 1977 series) #5 (1er trimestre 1979)
US in The Amazing Spider-Man (Pocket Books, 1977 series) #3 (82579-8) (March 1979)
NO in Edderkoppen (Atlantic Forlag, 1978 series) #7/1980 ([juli] 1980)
MX in El Asombroso Hombre Araña (Novedades, 1980 series) #15 (6 de agosto de 1980)
US in Mighty Marvel Team-Up Thrillers (Marvel, 1983 series) (1983)
US in Marvel Tales (Marvel, 1966 series) #154 (August 1983)
which is reprinted
IT in L'Uomo Ragno Classic (Edizioni Star Comics, 1991 series) #5 (Maggio 1991) [La storia è tratta dalla ristampa di "Marvel Tales" (come si riconosce dalla ri-colorazione).]
US in Marvel Masterworks (Marvel, 1987 series) #5 ([October] 1988)
ES in Spider-Man Classic (Planeta DeAgostini, 1993 series) #9 (Junio 1994)
US in Spider-Man Megazine (Marvel, 1994 series) #1 (October 1994)
US in The Essential Spider-Man (Marvel, 1996 series) #1 (December 1996) [black and white]
US in Marvel Masterworks: The Amazing Spider-Man (Marvel, 2002 series) #2 (July 2002)
ES in Spiderman: Stan Lee y Steve Ditko (Planeta DeAgostini, 2002 series) #2 (Enero 2003)
ES in Biblioteca Marvel: Spiderman (Planeta DeAgostini, 2003 series) #3 (Noviembre 2003)
US in Amazing Spider-Man Omnibus (Marvel, 2007 series) #1 ([April] 2007)
ES in Marvel Gold. El Asombroso Spiderman: Poder y Responsabilidad (Panini España, 2014 series) (Abril 2014)
US in Amazing Spider-Man Epic Collection (Marvel, 2013 series) #1 - Great Power ([October] 2014)

To see if the reprint is in color, you have to go to the index of the reprint.

Marvels epic line should get there at some point. Thhe entire Lee/Ditko run is already out. But those are off course collected editions to like MW. Although quite a deal more affordable then those. 

There will always be trees and printed matter will never go away.

I don't know any such thing.

Are you talking about these or the Omnibus? The latter usually have nice colours. but I haven't checked this one in particular. Are they flat, or four color? MW style flat colouring, really doesn't work for me on the material they reprint.

Actually let's look at vinyl since Confessor brought it up and see what kind of model that might be for print vs. digital.

-vinyl had to go away for a while before people missed it and appreciated what it had to offer
-currently not every new release goes to vinyl, only collectible special releases and releases form bands who choose to support the format
-vinyl singles went away and really haven't come back, only complete albums
-vinyl is not available at all outlets that sell music, only specialty shops catering to niche customers who prefer the format, but it is not relied on as the main format to release music nor to support the industry or bands ability to make a living at what they do.
-vinyl prices are slightly higher than the price of the music in other formats because the customers who want it are willing to pay more for it in that format than other formats

looking at that, I really can see a potential path for comics-
-not all comics will be released in print, only publishers/creators who support the format and special collectible releases
-only complete stories i.e. trades/ognNs released in print not individual issues, stories released in digital first collected in print by those who support the format
-comic specialty shops continue to sell what print versions of what is available
-print is not the focus of the industry's output, but a side format made available to collectors and customers who are willing to pay more for print than other formats since it is a niche product in a niche market

so no, I don't see print going away entirely, but I do see it's place in the industry evolving to adapt to a changing marketplace and the changing demands of the larger customer base as a whole.

-M

Yeah, pretty much every record store or chain of stores here in Britain stocks a good selection of vinyl nowadays. Hell, even supermarket chains like Sainsburys are stocking vinyl and they never did back in the '60s, '70s or '80s. Vinyl really has come back in a big, big way as a fairly mainstream thing.

What's really interesting about the vinyl revival of the last 10 years is that it, for the most part, it hasn't been driven by sad old record collectors like me, getting all moisten-eyed about this obsolete format. It has been predominantly driven by Millennials, who are all much too young to have ever bought records when they were the dominant way that people consumed music. In fact, a recent survey of British teenage record buyers by the Guardian showed that half of the Millennials who regularly buy vinyl don't even have a turntable to play their records on. They listen to their favourite artists on their iPods or via online streaming platforms, but they still like to own a physical LP by their favourite band because it's a tangible representation of their love of that band -- which is exactly what I was saying earlier about human beings being hardwired to want to surround themselves with "things" that reflect who they are as people.

The other thing that's really interesting about the vinyl revival among teens and 20-somethings, is that it pretty much proves that previous exposure to an old, analogue format isn't necessary for that format to gain popularity again. I mean, none of the Millennials currently driving the LP boom has any nostalgic connection to vinyl because they're too young. That's an interesting phenomena to observe because it has implications for all forms of physical media that are under threat from digital replacements.