Her monument was commissioned by her daughter Mary of Burgundy and constructed in Brussels sometime between 1475 and 1476 by Jan Borman and Renier van Thienen.

Originally placed in the church of St. Michael's Abbey, Antwerp in 1476, it was dismantled in August 1566 during the Iconoclastic Fury when parts were either destroyed or looted.

The tomb is made from black marble and bronze and originally held 24 pleurants (mourners or weepers) statuettes positioned in niches below Isabella's effigy, of which ten (five men and five women) are extant.

The surviving elements consist of the effigy in the ambulatory of Our Lady's Cathedral, Antwerp, and ten pleurants in the Rijksmuseum, Amsterdam.

[2] She oversaw and approved many elements of its design—as she later did with the tomb for her uncle Jacques de Bourbon (that is, James I, Count of La Marche).

[5] Art historians generally attributed the castings to Renier van Thienen (born 1465), which were likely based on wood carvings by Jan Borman (fl.

[2] Borman was also well known in Brussels, and is often attributed with the carvings of the Annunciation sculptures (completed 1426–28) in the church of St Mary Magdalen (Église Sainte-Marie-Madelei) in Tournai, polychromed by the painter Robert Campin.

[8][A] The tomb was ruined during the Iconoclast Fury of 1566 when it was badly damaged and broken apart by looters, and many of the original 24 bronze statuettes were destroyed or stolen.

[25][26] Figure B wears an imperial crown and holds an orb (then a symbol of sovereignty)[27] and represents her great-great-grandfather Louis of Bavaria (died 1384).

Their sleeves and robes are exceptionally long, and most of the women have tightly pinned or shaven hairlines, reflecting the 15th-century fashions evident from portraits by Rogier van der Weyden and Petrus Christus.

The female weepers are dressed in expensive and luxurious clothing,[19] in particular figure I's houppelande spills and gathers on the floor; an excess indicating her wealth and status.