Attached are some photos of another example. The style of the silverwork coupled with the blade construction (the fortes of the blade being parallel with the handle and not beginning to angle at the ricasso like many Arabian daggers do) point it to being an Ottoman interpretation of a southern Arabian dharia jambiya, though I think one could call this example a khanjar as well. However in the absence of this style of silver work in Arabian examples, I would suggest that points it to someone who trained or worked in the Anatolian peninsula but was familiar with the forms of the Arabian peninsula. I think that form is easier to copy than decorative motifs meaning the chances of an Arabian silversmith working in the 19th C. Ottoman floral silver decorative style is less likely than an Anatolian or rather non-Arabian silversmith adapting a common Arabian form with Ottoman floral design.
Also the blade is Ottoman workmanship, highlighted by the stylized Turkish style koftgari work.
The example that Kubur displays shows some sign of Sindh or Oudh style work (is the example brass or copper?), and they most certainly did adopt Arabian styles for local interpretation with Indian chiseled motifs and bright gilding.
Arguing against myself and Kubur, see Wilkinson, Swords and Daggers (1967) plate 161 and 162 for another example. He notes it to be Arabian (Wahhabite) but then claims that the Kurdish jambiya in the same plate is Albanian...
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